Bernhardt/Hamlet
Open Book Theatre
1621 West Rd.
Trenton, Mich.
Through Feb. 2
19th century French actress Sarah Bernhardt was a groundbreaking performer of her day. Known for her charming, eccentric and larger-than-life personality, she dominated French stages, before later transitioning to become an international silent film star. She didn’t take no for an answer and fought to take on roles when otherwise challenged.
This was the case in 1899, when — to much opposition — she broke gender norms and cast herself in the titular role of “Hamlet” at her Théâtre Sarah-Bernhardt in Paris. Bernhardt argued that men played women’s roles during Shakespeare’s time when women weren’t allowed to act professionally; why should her taking on the opposite gender in the 19th century be any different?
That act of courage is the foundation for Theresa Rebeck’s “Bernhardt/Hamlet,” playing at Trenton’s Open Book Theatre until Feb. 2. The play follows Bernhardt’s journey to playing the iconic role, and fighting against her friends, family, trusted critic and playwright lover to achieve her dream.
The nearly-2.5-hour play is a lot to handle. The dialogue alone is extensive and sometimes hard to follow as it dances between the current story and passages from “Hamlet” and “Cyrano de Bergerac.” It’s an admirable feat to take on such a dense script, and while I admire the ambition, the execution leaves some things to be desired.
Open Book Theatre Founder Krista Schafer stars as the titular character, present in practically every scene. She embraces her role with a melodrama meant to capture the indomitable force of nature of the legendary actress and position her as a fierce trailblazer for women. Unfortunately, her exaggerated portrayal is too much, even for a historical figure known for her theatrics.
Bernhardt was known for having her dedicated following of admirers, who — in the show — are so enchanted by her presence, practically bow to her every whim. But this kind of power requires an immense amount of charm and charisma that is lacking in Schafer’s portrayal, which often borderlines on annoying. Schafer’s melodrama is intense and unrelenting. It misses a dynamic and contrast that would better serve the comedic material and give the character more depth.
By contrast, David Galido’s Edmond Rostand — her playwright lover — is dry and lacking the energy to match the passion that so compels him to maintain an affair with an often-problematic Bernhardt at the expense of his wife and kids.
Lindel Salow plays Bernhardt’s longtime friend and fellow actor Constant Coquelin and is the strongest performer of the show. Though now portraying Polonius in Bernhardt’s “Hamlet,” he frequently reminds his fellow actors that he too had played the show’s titular character — often breaking into dramatic monologues — and later performs portions of “Cyrano.” As a modern actor playing a 19th century actor playing classic characters from even earlier centuries, Salow shows he can take on any role with excellent comedic and dramatic acting chops.
Despite the near-universal opposition to her Hamlet aspiration, Bernhardt never gave up, and her performance was met with much acclaim. She would later go on to reprise her once-controversial role in London and Stratford-upon-Avon in England and become the first Hamlet captured on film — which we see as a brief screening that concludes the show.
Stories about complex and powerful women can be few and far between. While Open Book Theatre’s production of “Bernhardt/Hamlet” falls short in certain areas, it’s still a refreshing, empowering story of female triumph that we need more of.
“Bernhardt/Hamlet” runs until Feb. 2 at Open Book Theatre, 1621 West Rd., Trenton, Mich. General admission tickets are $32, senior tickets are $27, and student tickets are $17. For details visit Open Theatre Book Company's website.
