A couple of years after the last big Battle of the Hamlets, which saw
Jude Law pitted against David Tennant in their respective portrayals of
the melancholy Dane, we have a fresh tussle. Admired stage actor Roy
Kinnear is about to open in the role at the National Theatre, but first
out of the traps is John Simm in Sheffield. Simm, best known as Sam
Tyler in
Life On Mars and as
Dr Who’s arch-foe the Master, may suffer the same sniffiness as Tennant
did from those ignorant of his stage record. He proves here that he has
the emotional range, intellectual acuity and sensitivity to the
dynamics of the role in a performance that is more than halfway to
excellence.
Alas, it will never get there as long as he persists in his
unaccountable use of an artificial, over-articulated Actorly Voice.
Clarity is one thing (and in the Crucible Simm is playing to nearly
1000 seats on three sides), but an antique over-crispness is
distracting in its unnaturalness. Simm scarcely uses the most common
vowel sound in spoken English, the schwa, in three and half hours; even
unemphasised usages of words such as “to” and “and” are given their
full formal vowel reading. It is entirely out of harmony with a
modern-dress production like Paul Miller’s.
Perhaps Simm is trying to keep up with John Nettles, who all but sings
his parts of Claudius and the ghost. Indeed, of the principal
performers only Hugh Ross as Polonius, Barbara Flynn as Gertrude and
Michelle Dockery as Ophelia make their lines sound like speech rather
than oratory. Dockery in particular chooses an unusually muted
portrayal, which at times looks like a sketch for the performance as
Masha in
Three Sisters which
she must surely, and brilliantly, give some time soon. This is a
young woman as thoughtful as Hamlet, and whose madness proves so very
affecting because we see her at her most alive on, as we know, the
brink of death.
In terms of narrative drive and fluency, Miller’s production (which
uses the scenic structure, though not the mangled text, of the First
Quarto edition of the play) does its job. But I find it utterly
perplexing that, professing as he does to have tried to treat it as if
it were a new play, he has allowed or even encouraged so much
old-fashioned stiltedness.