Playwright: Ryan Walters and the ensemble. At: Neo-Futurarium, 5153 N. Ashland. Phone: 773-275-5255; $10-$15. Runs through Sept. 25
Daredevils’ Hamlet hilariously shows the Neo-Futurists in tip-top form of blending meta-theatrical insights, personal introspection and amazing physical feats to pick apart a Shakespearean classic. Anyone who loves the Neo-Futurists’ usual brand of delightful deconstruction will have a ball with this manly exploration of the difficulties (and oddities) of Shakespeare’s play about the melancholy Dane.
But as a critic writing for a LGBTQ publication, I must also add an extra recommendation to alert certain gay Chicagoans to go see Daredevils’ Hamlet (particularly those who frequent the bars Touché or Cellblock).
Although the original Daredevils show developed in 2005 as a way to explore why men do risky and stupid stunts, this Hamlet sequel also carries a very discernable homoerotic tone about it. Plus, lovers of certain fetishes will be in heaven.
First, there’s a basic uniform of the Daredevils: an array of masculine work coveralls that frequently get peeled back to display a row of hairy chests (and sometimes more) belonging to cast members Brennan Buhl, Anthony Courser, John Pierson, Jay Torrence and Ryan Walters.
Then there are a couple of symbolic physical stunts to reflect the psychological state of characters—namely, the suicidal Ophelia. There’s a breath-control segment with the cast dunking their heads into water basins, while Pierson impressively gets fully submerged.
Then there’s a stunt to show how Ophelia loses all sense of herself following her father’s murder. Though his symbolic reasoning didn’t fully make sense, Pierson has agreed to have a different part of his body shaved live on stage by his cohorts throughout the show’s run. (Pierson’s neck was shaved on opening night, so it’s any wonder when they’ll get around to his privates).
Another aspect of Hamlet that gets a thorough exploration is the idea that Hamlet’s friend, Horatio, is likely gay. Torrence makes a couple of eloquent speeches, both personal and script-derived, that rhapsodize on the bonds of masculine brotherhood and how they can cross over and foster to a fuller love between men.
Director Halena Kays keeps the action fleet and funny, particularly with great contributions from Courser (who prefers a hero like Robin Hood) and the goofily cute Buhl (who offers up personally funny bits inspired by Hamlet’s insecurities in acting on his instincts).
As the show’s creator and de facto Hamlet, Ryan Walters amusingly (and physically) captures why any ambitious actor is cowed by taking on the monumental role of Hamlet (particularly as he delivers the famed “To be or not to be” speech on a rotating steel framed box).
Daredevils’ Hamlet definitely fits the bill for fun, physical and introspective humor. And if you’re a gay male with particular predilections, you’ll be in for quite a treat.