Review: Hamlet by Gaslight Baker Theatre
by Violet del Mar

 

As a performer, I approached my first viewing of this Hamlet with curiosity and cautious anticipation. Yes, I know what you’re thinking, and no judgments needed. I was pleasantly surprised. While the narrative’s tragic inevitability remains intact, this production infused the evening with playfulness and visual ingenuity. Humor surfaced at unexpected moments, and the staging embraced bold theatricality. Most striking was the towering puppet of the ghost of Hamlet’s father, a spellbinding visual centerpiece that felt both reverent and imaginative, beautifully honoring the roots of classical theatre.

 

 

Under the direction of A. Jason Jones, the ensemble crafted a version of Hamlet that felt remarkably accessible, particularly for audiences new to Shakespeare. Creative storytelling devices, including haunting masks, evocative flashbacks, interpretive movement, and the expressive use of fabric, clarified the narrative and grounded Hamlet’s psychological landscape with impressive clarity.

 

 

Several performances stood out. Tracy Hurd’s Polonia commanded the stage with wit and authority, holding the audience rapt until her final moment. Casey Prowell and Becket Jones infused the gravedigger scenes with infectious humor, cleverly balancing levity against the play’s persistent meditation on death.

 

Young performers Harrison Moore and Mordecai Kruser demonstrated a strong command of Shakespeare’s language and revealed exciting potential. Dylan Droz’s Horatio was relatable and sincere, while Camp Odom and Neil Decker brought sharp chemistry to Rosencrantz and Guildenstern.

 

 Kaitlin Deeb’s Ophelia was delicate and compelling, leaving a strong impression.

 

Jones’s direction was cohesive and purposeful, resulting in a production that felt both emotionally present and narratively clear for seasoned theatre artists and newcomers alike. That said, a few constructive notes emerged. Luke Jenkins’s Hamlet was energetically animated, reminiscent at times of Joey Batey’s Jaskier from The Witcher. While engaging, Luke’s performance could benefit from more varied pacing earlier in the play. 

 

Deeb’s Ophelia was lovely, though I look forward to seeing her lean more fully into Ophelia’s unraveling melancholy as the role continues to deepen.

 

From a more detail-oriented perspective, Schneider’s set design felt incomplete. Additional elements such as foliage, torch effects, and fuller use of the balcony space could further enhance the production’s sense of tension and emotional depth. The Renaissance-inspired costuming was visually engaging, but clearer distinctions in physicality and mannerisms between royalty and servants would help reinforce the social hierarchy onstage.

 

Scene transitions were somewhat extended and at times interrupted the show’s momentum, and a few musical interludes between scenes felt stylistically misaligned. Additionally, the abrupt ending of certain sound cues proved momentarily jarring.

 

Polonia’s death scene would benefit from further clarification and staging, as her placement behind the tapestry was unclear and the moment unfolded very quickly. Tracy’s performance merits a more fully realized and resonant exit.

 

Tickets are notably affordable, and parking is refreshingly easy to navigate in the bustling town square. For performers, Shakespeare enthusiasts, or anyone curious about the artistic integrity of The Gaslight-Baker Theatre in Lockhart, I highly recommend attending a production and considering an audition. The ensemble carries a genuine sense of community while remaining open and welcoming to new artists. If this theatre or cast sparks your interest, it is well worth showing up for an audition that aligns with your artistic heart. It's important to note, however, that these are all lovers of theatre for theatre's sake. The Gaslight-Baker Theatre does not offer stipends for cast or crew, a consideration for artists weighing their level of commitment.

 

Overall, this Hamlet is a compelling and memorable offering in Lockhart. It is an engaging experience for both performers and audiences, guided by a creative vision that confidently shines.

 

EXTRA

Program notes from director A. Jason Jones

Welcome to William Shakespeare’s Hamlet.

If you’ve never seen this play before, you don’t need to “get” every word to get the story. Shakespeare wrote for people standing shoulder to shoulder, listening with their whole bodies. They were survivors of plague, political upheaval, and religious tension. That’s Shakespeare’s audience—how this story was meant to be seen.

Hamlet is about people—families under strain, friendships tested, and what happens when love, grief, ambition, and fear collide in the same room. The language is old, but the emotions are not. Let yourself ride them—the story will carry you.

Our version comes from that belief. We want this to be a Hamlet that breathes, a living story with living people. Stay connected to the characters rather than decoding the words. Trust the plot—it always makes itself clear.

At its core, this is a play about seeing too clearly and the trouble of telling the truth in a place built on polite lies. It’s about a son making sense of grief, a court trying to keep balance, and a community pretending not to notice something is deeply wrong.

Theatre isn’t for elites. It’s a shared experience—neighbors in a room, watching a story unfold. Lean back, let the rhythms wash over you, let the silences speak, pay attention to who listens, who turns away. The story knows what it’s doing.

Whether you’re a Shakespeare regular or here because someone dragged you along, we’re glad you’re with us. This theatre exists for this exact moment: people gathering, lights down, and a story old enough—and human enough—to still matter."

— A. Jason Jones

 

 

 

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Hamlet
by William Shakespeare
Gaslight Baker Theatre

January 30 - February 15, 2026

Gaslight Baker Theatre, Lockhart

Tickets $20 general admission, $15 seniors, $10 students, available online HERE

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