LET’S cut to the chase: Jude Law doesn’t embarrass himself as Hamlet. Far from it.
His take on the sweet prince of Denmark leans toward the “tortured but forceful” school, as opposed to the “wishy-washy romantic” one, and he pulls it off with panache.
And while Law is the only reason Michael Grandage’s production is on Broadway, this isn’t meant to disparage the show, which is perfectly honorable.
Imported from London’s Donmar company, this is the epitome of British-style quality: swift, well- acted, easy on the eyes and a breeze to follow. It’s not an unforgettable “Hamlet,” but it’s a chic, well-executed one — perfect gateway Shakespeare.
Law seems a bit mannered at first, holding his arms at a rigid angle, as if manipulating invisible marionettes. But as he warms up, he projects a brooding intensity that befits a character obsessed with vengeance. And in the daunting soliloquies he combines seemingly contradictory qualities of self-doubt and ardor.
The downside is that he misses out on the pockets of black humor lurking in his character. You get only an inkling of the possibilities, as when Hamlet’s dry reply, “O, wonderful” — spoken after being asked how things went with the ghost — elicits laughs.
The rest of the cast provides able support, although not so able that it would overshadow the main attraction. The weakest elements are the two female characters. Apparently we lost out on a great Gertrude when Penelope Wilton was replaced by Geraldine James in the move from London, and there’s never any real connection between Hamlet and Ophelia (Gugu Mbatha-Raw). Is it because of the prince’s narcissism, a bit Law has no problem evoking?