A Family Portrait of Love and Loss

Hamnet

Six years ago, Irish-British author Maggie O’Farrell wrote an historical novel that became a huge bestseller. It was a fictional look at the world of Tudor England, told through a family portrait of love and loss. The story filled in history’s missing moments of the courtship between William Shakespeare and Anne Hathaway. O’Farrell’s book portrays Anne, or Agnes as she’s called here (and the “g” is silent), as an herbalist healer with a spiritual connection to Nature and the supernatural world. She meets teenaged Latin tutor, Will (the author never uses the surname Shakespeare in her novel), when he spots her engaged in falconry outside his classroom. For a young man who’s not yet 18, Agnes is a lovely, exciting and provocative young woman who sets his heart aflutter. When eventually Agnes tells Will that she’s going to have his child, Will’s parents reluctantly give their permission for the two to marry. 

The story continues with the loving couple wedded and moving into the annex of the Shakespeare family house. Agnes has a premonition that they will become parents of two children. She soon gives birth to their first child, Susanna. As time passes and Agnes finds herself pregnant once again, nine months later she gives birth to twins Judith and Hamnet. Meanwhile, as life in rural Stratford-Upon-Avon can’t hold Will. He becomes restless and decides to take up residence in urban London. There he finds employment in the theatre world, first as an actor and then as a playwright.

 With the bubonic plague raging throughout England, it’s only a matter of time before the contagious disease reaches Stratford. Little Judith contracts the illness first and, as she languishes at death’s door, her devoted twin brother Hamnet becomes contaminated. But the boy can’t bear to allow his sister and best friend die. So he negotiates with Death, trades places with Judith and leaves the world in her place. 

The latter third of the story relates how young Hamnet’s death continues to devastate Agnes and affect Will’s playwriting. Agnes is angry that while she mourns the unbearable loss of their little boy, Will has seemingly forgotten their shared tragedy. So finally Agnes travels with her brother, Bartholomew to London to confront her seemingly callous husband. But instead, Agnes discovers that Will has actually expressed his grief through the beauty of his latest and finest play, “Hamlet.” And once again Agnes and Will rekindle their bond of love together.

In 2023, a theatrical adaptation of Maggie O’Farrell’s novel was written for the stage by playwright Lolita Chakrabarti. Brought to life by the renowned Royal Shakespeare Company, the play premiered at the Swan Theatre in Stratford, where it was a huge success. It soon transferred to London’s West End where it was acknowledged by both audiences and the press. Now, three years later, the famed theatrical company has kicked off an American Tour of HAMNET in the Windy City, at Chicago Shakespeare Theatre. And, without a doubt, the much-anticipated wait was well worth while.

Directed with sophisticated finesse and great passion by Erica Whyman, this production is a perfectly performed adaptation of Maggie O’Farrell’s incredible novel. Less plot-driven, this engaging drama is much more of a character study. Having read Ms. O’Farrell’s captivating historical depiction of Agnes, Will and their respective families, I can vouch that this play is totally faithful to the book. The RSC makes each character memorable flesh and blood people, from the leading players to the smallest roles. Each character springs to life with absolute gusto, leaving an impact on the theatergoer’s heart and soul.

Kemi-Bo Jacobs is simply magical as Agnes. Seldom ever offstage, Ms. Jacobs absolutely dominates this production, from start to finish. With an impressive resume that includes works by Shakespeare and contemporary playwrights, alike, actress 

Kemi-Bo Jacobs has also appeared on television and in film, as well. She brings a brooding, cerebral quality to this witchy woman who casts her spell on everyone with whom she comes in contact. Ms. Jacobs is positively stunning in this role. Rory Alexander plays Will. He’s powerful and totally believable as the Bard of Avon, and has the look and persona of a young William Shakespeare. Although most of Mr. Alexander’s work has been in film and television, he proves in this role that he’s a strong theatrical actor, as well.

The rest of the cast is superb. Ajani Cabey is excellent as young Hamnet and Saffron Dey glows as Judith. Susanna is nicely portrayed by Ava Hinds-Jones, with Nigel Barrett as a domineering John and Penny Layden motherly as Mary, Will’s parents. As Joan, Agnes’ cankerous stepmother, Victoria Elliott is deliciously dour and devious. And Troy Alexander makes a stalwart Bartholomew. The entire company is equally excellent and most accomplished.

Tom Piper, who serves as both set and costume designer, has created a fluid, flexible environment of wood that allows for easy adaptation to the story’s various locales. It also employs the audience’s imagination to see the forest, the Shakespeare home and the interior of the Globe Playhouse. Piper’s period costumes look authentic and are easily adaptable for actors to depict the passing of time or more than one character. And composer Oguz Zaplangi has created a musical palette that paints an aural picture of Tudor times.

Lolita Chakrabarti’s excellent adaptation of Maggie O’Farrell’s enthralling historical novel contains just enough of the original book to be both entertaining and enlightening. In the competent hands of talented director Erica Whyman, the two-and-a half-hour production, with intermission, both dazzles and delights. The Royal Shakespeare Company cast is impeccable, ingenious and makes O’Farrell story come alive with so much depth and feeling. If you’re a Shakespeare fan, or you just enjoy a magical story, this historical family portrait of love and loss is a masterful, memorable production that should definitely not be missed.       

Highly Recommended

Reviewed by Colin Douglas

Presented February 10-March 8 by the Royal Shakespeare Company at the Chicago Shakespeare Theatre, in the Yard Theatre, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com