hamlet
Written by William Shakespeare; directed by Jim Haines
Stone Circle Theatre 59-14 70th Avenue, Ridegewood, NY 11385
November 13th - 23rd, 2025
Staged in the upstairs chapel of a church, this production of Hamlet leans into simplicity, atmosphere, and the stark beauty of a repurposed space. With tapestries hung on either side, candelabras, a portrait of Claudius, and gobos designed to echo the church windows, the visual world is both minimal and evocative. It is a cool, intriguing venue, and the team makes strong use of the lower level, with entrances from the back of house and the sides helping create a sense of movement and surprise.
Thematically, this production sits at the intersection of religion’s occasional presence and the play’s broader concerns with death, grief, and revenge. That dichotomy is fertile territory, and the staging leans into it without overwhelming the performances.
The standout of the evening, unequivocally, is Naomi Yuchi Townsend as Ophelia. Her work is luminous. From her very first entrance, she brings a light, giddy warmth to the stage, especially in her affectionate exchanges with Matt Tijmstra’s Laertes. She is dynamic with Bill McAndrews as Polonius, capturing the humor and rhythm of a young woman navigating a verbose, overbearing father. These early moments make her emotional descent later not only believable but heartbreaking.
As Claudius and Polonius begin to manipulate her, and as Hamlet themself joins in that emotional destabilization, Townsend charts Ophelia’s unraveling with clarity and courage. When she returns in her madness, the audience fully understands how she arrived there and feels the devastation of watching a woman pushed beyond her limits. She is the emotional anchor of the entire production.
Gage as Hamlet has some compelling moments, especially in the clarity of their text and certain emotional beats. However, the performance does not yet feel fully settled. Hamlet’s internal world of grief, confusion, betrayal, and loss of faith appears in flashes but does not consistently carry through the role. As the run continues, the role may deepen and reveal more of its complexity.
Sanam Erfani as Gertrude brings a strong emotional presence to the role. The production highlights Gertrude’s outward responses, though it leaves less room for the character’s political and personal complexities, such as her position between duty, survival, and shifting alliances
Gilberto Ron as Claudius gives the production a strong and steady presence. The deception is clear, and his shift from proud king and husband to a more duplicitous, calculating figure was well played. Those changes in demeanor were effective and grounded.
Among the ensemble, the Players are an absolute delight. Mike Sause as the Ghost and Player King, Annie Saenger as the Player Queen and the Reverend, Toni Watterson as Lucianus, the Prologue, and Osric, Francoise Traxler as Francisco and Rosencrantz, and Josh Saffran Sedecca as Barnardo and Guildenstern bring humor, precision, and personality. Their musical interludes add unexpected texture, and their commitment helps buoy the heavier moments.
Rosencrantz and Guildenstern are two of my favorite characters in the canon. They are the comic foils, the unexpected mirrors, the friends who become instruments without ever fully realizing it. In Hamlet, every character is a means to an end. Their presence reminds us how easily people get swept into schemes that have nothing to do with them, and how quickly loyalty becomes currency. In this production, their scenes carry that blend of humor and inevitability, underscoring just how expendable everyone becomes once the wheels of revenge start turning.
A special shout-out goes to Chrissy Young, who appears as the Courtier and one of the players and brings standout physicality and comedic timing that lifts the energy of the entire piece. Margaret Leisenheimer as Horatio brings sincerity and steadiness.
Director Jim Haines has crafted a clear and thoughtful production. The use of space is intentional, the staging coherent, and the lighting effectively ties the church’s architecture into the world of the play. The fight choreography is especially strong, tight, believable, and energizing.
Overall, this Hamlet still feels early in its run, with room for growth in several of the central performances. But the strong ensemble work, the atmospheric space, and a breathtaking Ophelia make this production worth experiencing.
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Review by Malini Singh McDonald.
Published by Theatre Beyond Broadway on November 17, 2025 All rights reserved.