theSpace at Niddry Street, Edinburgh
Ophelia is also Dead is – as you might infer from the title – Ophelia’s story, given more weight than Shakespeare ever intended. Here, the sketchy image of the deranged drowned girl is developed into a fully-rounded character, with a disctinctive voice.
The script, by Aliya Gilmore, is insightful and inventive, almost a forensic study of Hamlet and Ophelia’s function within it. Dripping with water in a ravaged wedding dress, Ophelia tells us who she really is.
Fionna Monk’s performance is impressive: all anger and anguish, determined to be seen. I like the meta-theatricality, particularly the notion that she is all Ophelias in all productions, facing a never-ending raft of badly-interpreted Hamlets. She has been Ophelia for four-hundred years; she’s seen herself portayed in many ways.
However, for all its quirky originality, this Durham University play somehow feels a bit too essay-ish, like a student trying to demonstrate everything they know about Shakespeare. And I really think it needs to be a monologue; the rest of the cast are under-used, serving only as a distraction, interrupting Ophelia’s flow. The intensity of Monk’s interpretation is undermined by these pointless cameos.
Still, this offers a new and interesting perspective on a criminally overlooked character.