Ex Machina, Côté Danse & Dvoretsky Productions/The Tragedy of Hamlet, Prince of Denmark, designed and directed by Robert Lepage, co-designed and choreographed by Guillaume Côté, Elgin Theatre, closes April 7. Get tickets right here.

On the finish of The Tragedy of Hamlet, Prince of Denmark, the viewers erupted right into a standing ovation and extended applause, even persevering with to clap after the curtain fell, however, alas, I used to be not among the many fans. For me, this much-anticipated dance drama got here up brief.

I sincerely hope that the ardent opening evening response was not simply from associates, and that this formidable present will discover its viewers. I want it nicely, however there is no such thing as a getting round the truth that for some cognoscenti, corresponding to myself, this dance-through Hamlet will likely be a disappointment. Thus, I concede that this evaluate, judging from the rapturous opening evening response, is a minority report.

The co-creators of Hamlet, Robert Lepage and Guillaume Côté, are Canadian arts royalty. Director Lepage is a theatre visionary, whereas Côté is a much-acclaimed dancer/choreographer. Body by Body, the piece they created for the Nationwide Ballet of Canada in 2018 as a homage to movie innovator Norman McLaren, was a sensational mixing of reside motion and excessive tech imagery. In any case, Lepage is taken into account a expertise guru all through the world.

For this dance drama, nevertheless, Lepage opted to go low tech, which means, to make the most of the fundamental naked requirements of theatre, which incorporates units, costumes, lighting, and visible results crafted by human arms. The dance itself, the choreography, was meant to be entrance and centre, and it actually is.

Over many scenes, the 9 dancers inform the easy story of Hamlet as Shakespeare wrote it, with some minor modifications. If Lepage and Côté needed to make some new assertion on the character of Hamlet, or shed contemporary insights on the play, that doesn’t occur. This dance drama is a standard therapy of the fabric.

Côté’s choreography may be very clear in depicting character and motion, and for that, he needs to be counseled. Even individuals who don’t know the plot of Hamlet will simply comply with the storyline. There are additionally some cryptic surtitles that give quotes from the textual content, which additionally assist set the scene, though some are very cheeky. Simply earlier than Hamlet confronts the ghost of his father, the surtitle reads: “One thing is rotten in Denmark.”

The issue with Côté’s motion is that it breaks no new obstacles in dance. What seems on stage is an incarnation of the ballet you realize and love, blended, at occasions, with different dance kinds. The steps are nicely put collectively, and engaging to take a look at. Nonetheless, whereas the boys show gymnastic virtuosity and the ladies exhibit elegant grace, I have to use the phrase typical once more. We’re not seeing something actually new when it comes to leading edge choreography.

To Côté’s credit score, he needed to give you a slew of various pas de deux, matched to character — Hamlet and Horatio, Hamlet and Ophelia, Claudius and Gertrude, Ophelia and Laertes, Ophelia and Polonius, Hamlet and Gertrude — and he did. All of them comprise critical partnering, together with lifts, and are showy sufficient, however what I feel I’m making an attempt to say right here, is, that they lack pleasure. The truth is, the entire dance drama lacks pleasure.

The motion unfolds, a narrative is informed, however the drama doesn’t interact on any emotional stage. As an viewers member, I used to be a mere observer who was by no means invested within the plight of the characters.

There may be, nevertheless, a lot to advocate in regards to the manufacturing when it comes to design, for which each Lepage and Côté are credited as co-creators. Scenically, this Hamlet is sort of stunning.

The stage is swathed in crimson velvet drapes, a few of which might transfer round and alter form. The three chandeliers bathe the stage in a heat golden glow which evokes previous occasions, courtesy of lighting maven Simon Rossiter. There are wood platforms that, on this low tech world, break aside or come collectively to remodel into tables, desks, beds, coffins, and the like, however with every iteration, they’ve a regal air about them. Even the chairs solid a palatial aura, coated as they’re in plush upholstery.

In different phrases, there’s a luxurious veneer over all the things, and this consists of the completely attractive costumes by Michael Gianfrancesco and Monika Onoszko. The materials are wealthy in texture, whether or not or not it’s Hamlet’s black, skin-tight physique swimsuit and boots, or Gertrude’s ornate interval robes. When it comes to manufacturing values, this present is a category act.

One other enormous plus is composer John Gzowski’s magnificent authentic rating that might stand by itself as a splendidly evocative piece of music.

Every scene has an figuring out melody utilizing totally different mixtures of devices, though the cello predominates. There doesn’t appear to be any repeats. Every vignette is musically distinctive, working the gamut from baroque dance music celebrating the union of Claudius and Gertrude, to underlining the reflective solos given to virtually each one of many characters. Whether or not the playful excessive jinks of Rosencrantz and Guildenstern, or the percussive pressure of the Hamlet/Laertes duel, Gzowski’s rating suits the dance like hand to glove.

This Hamlet additionally showcases some dazzling stage imagery, however for some cause, it didn’t really feel prefer it was sufficient to offer this manufacturing actual pizazz. Maybe, as a result of it was Lepage who was a creator, I needed extra. Nonetheless, when considered one of these imaginative visible results does join, it’s nice theatre.

Take for instance Ophelia’s drowning scene. The dancer is positioned in opposition to a rippling, powder blue fabric, and unseen arms from behind the scenes, raise her within the air so it seems to be like she is definitely within the water.

Then there’s the Ghost’s description of his homicide, which is cleverly carried out as silhouettes behind a mattress sheet. As for the play that may catch the conscience of the king? Missing a troupe of actors, Hamlet and Horatio carry out the homicide of Hamlet’s father utilizing masks, however the kicker is, the faces are on the again of their heads so they’re really dancing backwards.

General, I really feel that the present wants extra of those eye candies to offset the dance. The truth is, as foolish because it sounds, this dance drama has too many moments of pure dance.

There may be additionally a structural downside. To permit for set adjustments, the principle curtain closes, and Côté has supplied choreography in entrance as a canopy. Whereas the situation of the motion is all the time logical, for instance, Hamlet going off to England with Rosencrantz and Guildenstern, after a time, the repetitive opening and shutting of the curtain turns into routine. Curtain shut, equals, entrance of curtain motion. There isn’t any change-up in format to alleviate the predictability issue, and so the dramatic backbone of the present falls flat.

After which there’s the very odd ending, with Horatio, the one survivor, performing an angst-ridden solo in silence after Hamlet’s demise. It simply doesn’t really feel proper. What sort of assertion is that this solo making in relation to the play? Admittedly, Shakespeare didn’t finish with Hamlet’s demise both, however whereas Prince Fortinbras’ arrival is by some means acceptable within the authentic, this ending simply doesn’t work for me.

On a happier be aware, this present is bursting with expertise. The whole solid is fantastically gifted whereas being age applicable. There may be some depraved dancing being carried out by an organization that may additionally act up a storm. It’s within the high quality of the ensemble, the place this dance drama finds its biggest success.

Côté solid himself as Hamlet, however regardless that he’s 41, he can nonetheless toss off bravado dance strikes. He’s additionally very good-looking and appears each inch a prince. The one factor I didn’t get from him was insanity, though Côté projected Hamlet’s many moods very nicely, alongside along with his differing relationships with numerous characters.

Casting a lady, the formidable dance wizard Natasha Poon Woo, as Hamlet’s pal Horatio, was a stroke of genius, her being a softer, extra cheery foil for the morose Hamlet. She can also be in a position to execute lightning quick, energetic motion in distinction to Hamlet’s extra introspective nature. Poon Woo is an excellent dance interpreter.

The good Greta Hodgkinson, late of the Nationwide Ballet, and the equally nice Robert Glumbek of ProArteDanza, give excellent performances as Gertrude and Claudius. Each are 50, however nonetheless transfer with acknowledged class. As nicely, they each are able to producing critical dancing, together with radiating vivid character portrayals. The lustful chemistry between the 2 of them was palpable.

The Polonius household is headed by 70-year-old Bernard Meney, who’s suitably fussy and bureaucratic, however loving along with his kids. Carleen Zouboules, who’s a consummate ballerina, offered Ophelia as a fragile weak flower, whereas Lukas Malkowski as Laertes is solely an outstanding dancer and a virtuoso of motion.

As for Rosencrantz and Guildenstern, Connor Mitton and Willem Sadler, respectively, carry out their lighter roles with an brisk aptitude and devil-may-care angle. Côté’s choreography for them is paying homage to the jolly ensembles for Romeo, Mercutio and Benvolio in numerous Romeo and Juliet ballets. Like Malkowski, they show method up the whazoo.

As I mentioned earlier than, I need individuals to embrace this present, and I feel they’ll, as a result of it seems to be good and tells its story nicely. Alas, for me, this Hamlet didn’t meet my expectations, however then, I’m not most of the people.

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Paula Citron is a Toronto-based freelance arts journalist and broadcaster who hosts her personal web site, paulacitron.ca. For over 25 years, she was senior dance author for The Globe and Mail, affiliate editor of Opera Canada journal, arts reviewer for Classical 96.3 FM, and dance previews contributor to Toronto Life journal. She has been a visitor lecturer for numerous cultural teams and universities, notably on the function of the critic/reviewer, and has been a panellist on COC podcasts. Earlier than assuming a full-time journalism profession, Ms. Citron was a member of the drama division of the Claude Watson College for the Arts.

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