The infamous final two episodes are essentially an Author Filibuster on the human condition and the nature of loneliness. The Movie End of Evangelion was the same, just not taking place on a "big blue ball" and was Due in part to the Mind Screwwhat exactly the Author Filibuster is arguing is a topic of hot contention in the fanbase.
The twenty-sixth, biennial Shakespeare production to be put on by this most accomplished of amateur productions companies, puts many a professional troupe to shame.
Tight, engaging, enthralling and - above all - passionate, there is not a duff performance to be seen or a single actor who does not revel in their moment beneath the clear blue skies. As enchanting as any auditorium, the clearing in the woods shrouds these productions in its own natural ambience.
The lights reflecting down upon proceedings from the surrounding trees manage to imbue events with their own spectral presence. This long before Mike Ellis makes his ghostly appearance as the newly murdered king, amidst clouds of dry ice and a booming voice that echoes from the hedgerows.
The set is simple but effective. Elsinore is a duel tiered affair in and around which the action takes place, whereas the costumes are each Christmas box bright and accompanied by some of the most lethal looking props imaginable.
As already said, the acting is exemplary, with director Nick Sample having marshalled his troops to within a gnats whisker of perfection.
As Claudius, the usurper king, Charles Riley is huge in both voice and deed. His presence is as kingly as his performance, with his deceit lying in his normality. As Gertrude and Polonia, Pauline Garland and Caroline Kay are both assured in what are two of the most harrowing roles The Bard has created for women players.
Similarly, Fiona Williams totally nails the angst and anxiety of Ophelia; her distress and rage clear for all to see.
As Horatio, Stuart Rathe is what everybody wants in a best mate: And for Pythonesque shenanigans, look no further than Andy Jordan and Geraldine Molony-Judge as the bawdy gravediggers.
In all of these, the actor playing the lead is either perceived as being either strong or weak in the role of which many, if not everybody, knows at least one line which he utters. In Adam Stubbs, however, The Hillbark Players have unearthed a true, dynamic, charismatic and thoroughly captivating Prince of Denmark.
Hamlet may be lofty, metaphysical and wide-reaching. It is also physical, immediate and, in stages, a deeply personal journey. It is a lofty tale, that here is told with the common touch and The Hillbark Players have produced a play of which every man, woman and child of them should be justly proud.
An absolute joy from beginning to end and roll on production twenty-seven. With the sun beaming down and the birds singing, we followed the signs through the woods until we discovered the site and the impressive seat theatre. After talking with Director, Nick Sample, and Assistant Director, Ruth Stenhouse, it was soon time to get settled with our Prosecco and strawberries and watch the drama unfold.
With this being a three hour performance, we were treated to an edited and arguably more action packed play and the wooded backdrop and sounds of nature provided the perfect setting.
It was clear money had been spent, with smoke effects and dramatic music from the surrounding speakers. The music throughout was often poignant and powerful, adding to the allure of the live performance. As the plot unfolded and we were taken through the scenes, one thing remained particularly striking — the calibre of each and every one of the actors.
In each case, the delivery was concise and clearly well refined through months of practise. Hillbark Players had offered open auditions for the roles and as such had recruited some of the most experienced acting talent in the North West — that said there were some debuts in live theatre on display, although no-one would have noticed.
All actors were deeply involved with their characters and there were some fascinating and entertaining interactions, particularly between Ophelia and her brother and of course the intense and passionate engagements between Ophelia and Hamlet.
The quality of acting throughout was indeed very impressive and it was impossible not to be completely absorbed from start to finish. I was most impressed with Adam Stubbs, who portrayed Hamlet with tireless energy and whose commanding and charming lead performance kept the audience entranced — definitely one to watch for the future.
Both actors had a phenomenal stage presence — truly captivating. The interval was timed perfectly, with the second half quickly producing the sequence of deaths and tragedies. The developments with the key characters were captured extremely well and it was fascinating to watch the characters change as the plot thickened.
As with the first half, the acting was enthralling, but what made the second half even more entertaining to watch was the lighting and atmosphere. As dusk descended on Royden Park, the lighting effects came into their own and the atmosphere was electric!
Shakespeare under the stars on a summer night — a quite unique experience! As we all know, the Hamlet story progresses into fights and more further deaths, in an engrossing script. The parrying and jousting was mesmerising and the final events that followed were executed in an emphatic manner.
In summary, a fantastic evening of entertainment!
The thriving music scene of Liverpool and the North West is documented so well, however much must be said about the quality of our local theatre scene — a thoroughly enjoyable way to spend an evening.
There are so many things to do this summer but we highly recommend the huge open air Hamlet production in Royden Park courtesy of Hillbark Players.Difficult Word Searches These word searches are intended to be very difficult to complete.
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Here is another example for you to complete. Shakespeare homepage | Hamlet | Entire play ACT I SCENE I. Elsinore. A platform before the castle. HAMLET The Mouse-trap. Marry, how?
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From Edgar Allen Poe’s “The Tell-Tale Heart” to Kate Chopin’s “The Storm,” from Woody Allens’s “The Kugelmass Episode” to Joyce Carol Oates’ “How I Contemplated the World ” we will encounter numerous characters and their struggles, and be introduced to new ways of .