The amazing Linda Marlowe has devised a new way of keeping herself company as a solo performer: she’s brought in a bunch of puppets and their black-garbed manipulators from Tblisi, Georgia. Co-produced with Roger McCann and the Watford Palace, “her” Hamlet is an international event writ small in execution, large in spirit: Marlowe is inhabited by the ghosts of Hamlet past in a dressing room she has been employed to clean up.
The stage comes alive as she stares in the mirror. House lights down, bulbs light up, and some doomy Russian music invades the backstage area, suddenly populated with finger mice and two-foot puppets of Claudius, Gertrude and Polonius.
You’re better off knowing the play before you go, but many of the great speeches are here, with Marlowe sounding the full vocal register and playing the hero/heroine with a stark, alive quality that pins you to your seat and alerts you to a masterpiece.