Reclaiming Shakespeare’s Female Characters, While Carrying a Message That Surpasses the Theatre and the Stage.
I was going to start with “it is crazy that during these times…” but, for women, there’s always a “these times.” Like the now-viral sayings go: “not all men, but always a man,” or “I will always choose the bear.” Anyways, the timing for this play’s debut feels wild to me, and my first thought was -now- as San Diego — specifically Chula Vista — is going through the Maya Millete case, in which her husband is facing murder charges for her death despite there being no crime scene and no body. Maya disappeared in 2021. In a world where laws still “approve” marriages between 9-year-old girls and 60-year-old men. And, going back to theatre, specifically Shakespeare, do not get me started on the Emilia Lanier debate… well, all of this came through my brain while experiencing Lauren Gunderson’s A Room in the Castle.
This is not just a reinterpretation of the female characters in Shakespeare’s Hamlet; this is a spotlight on the many discrepancies and injustices women continue to face. Directed by Kim Strassburger, the play is practically brand new, having debuted last year at The Folger in DC, and now making its San Diego premiere with the most fitting theatre company.
The plot takes Hamlet’s characters of Ophelia (Lyric Boothe), his love interest, his mother Gertrude (Dianne Yvette), and a new character from Gunderson’s pen, Anna (Vanessa Dinning), Ophelia’s nurse. There is a reimagining of the roles these women play in Hamlet, told from their point of view — or, as the youth would say today, “their POV.” It points directly at injustice, control, and abuse.
Julie Lorenz’s bare set design features a black backdrop with a white chair and desk, alongside two screens that display surveillance footage of the action, giving the audience the sense of being watched 24/7. No privacy, no freedom, and not much will of your own, for that matter. The scene changes are marked by Michael Wogulis’s projections and video, ranging from Renaissance paintings to modern-day imagery— such as Bill Cosby’s eyes. (Yup, I saw it.) I will not spoil more of the content, but with that example, you know where this is going, dear reader.
Zoe Yahrling’s sound design is loud and invasive, exactly as it needs to be in order to round out the tone and feeling of what is happening onstage. Kim Strassburger recently directed The Lehman Trilogy with three male actors, and now she directs this piece with three actresses — these are the types of things I put my eye on. Kim is very well-versed in Shakespeare, and I think she is the perfect person to take on this new interpretation.
Because the set is so bare, it seems there is a lot of space to fill, but Kim’s direction allows the three actresses to fully occupy and complement that space through their performances. Lyric Boothe brings a tender yet smart Ophelia who expresses herself through song and dance. You can say Gunderson “dis-villainizes” Gertrude in a way, presenting a strategic queen instead, and Dianne Yvette conveys that beautifully while maintaining an air of mystery and dosing it with witty comedy. Vanessa Dinning as Anna is a chef’s kiss — from the diction, to the intention, to the movement.
All three actresses create powerful, moving scenes that are thought-provoking and even tear-inducing. The whole concept hits hard, and I left with a heavy heart… in sort of a good way, if that makes sense.
Stephanie Ma’alona’s lighting remains consistent throughout the 90 minutes, but there is one moment when the light suddenly brightens, allowing an exchange between the stage and the audience that feels deeply intentional. Though the play is set in modern times, Anabel Olguín-Natale’s costumes — dresses, skirts, and pantsuits — keep it contemporary while still carrying a subtle 1600s flair.
It is always exciting when we get a new play on this side of the country, especially one with this much impact and this strong message wrapped into less than two hours. The creative concept, along with the intimacy of the work, makes it a play not to be missed.
Currently playing until June 7.
The Stage Manager is Angel Page Smigielski, and the Assistant Stage Manager is Andy Benumea.
