A common saying in the prop shop of the Guthrie Theater in Minneapolis, Minnesota, goes as follows: “A successful show needs time, talent, and materials.” This phrase refers to the triangle of success, The Guthrie’s roadmap to greatness. With their state-of-the-art technology, meticulous attention to detail, and community of skillful actors and crew members, it’s no surprise that Hamlet is a success, too.

The Apr. 26 show celebrated the 60th anniversary and fifth production of Hamlet at the Guthrie. Hamlet is a much-beloved production worldwide, but at the Guthrie, it has a special meaning as it was the inaugural show of the theater, making its debut on May 7, 1963. Director Joseph Haj’s current version of the iconic show takes the audience on a roller coaster of family drama combined with humor, romance, melancholy, and impassioned deaths.

At its core, Hamlet is the story of a messy, grieving family. Hamlet (Michael Braugher) grapples with the death of his father while his mother, Gertrude (Regina Marie Williams), has seemingly moved on by marrying her late husband’s brother, Claudius (John Catron). When Hamlet and his friends begin to see his father’s ghost (David Whalen), Hamlet learns that his father was murdered and seeks revenge. His family worries for his sanity as Hamlet ignores everyone in his life and appears to go mad, resenting his uncle’s position as the new King of Denmark and replacing his forgotten father.

The epic, dramatic tale never fails to engage an audience, but the Guthrie takes the already-memorable story further. Polonius (Ray Dooley), Hamlet, and Laertes (Grayson DeJesus) offer moments of laughter, a reprieve from the generally tense dialogue. Little details, such as the flowers that Hamlet’s love interest, Ophelia (Anya Whelan-Smith), passes out that are made of Hamlet’s letters, subtly display her emotional turmoil.

Furthermore, the show takes place on a bare, gray stage with three levels and a balcony, and the actors occasionally appear at floor level with the audience. The blandness of the backdrops allowed for complete focus on the acting and costume design, which were far more interesting. Hamlet appeared in all black or navy blue, accompanying his depressive and ranting monologues. Meanwhile, Gertrude adorned the stage with regal gowns, often matching her husband Claudius to symbolize their union and partnership. Ophelia begins the show in fancy, eye-catching dresses, but as the story progresses and Hamlet stops caring for her, she finally emerges haggard and lonely.

Meanwhile, the Guthrie’s attention to detail is apparent in numerous places. The seats surrounding the Wurtele Thrust Stage are arranged in a pattern of different colors and sizes so the audience appears full to the actors. In addition, the sound panels are organized for the best acoustics, which was evident despite the lack of microphones. Only Hamlet’s ghost used a microphone for ominous sound and voice effects; otherwise, the actors projected their voices for the 1100-person theater. Each word was enunciated clearly, and Gertrude and Hamlet’s voices especially evoked their raw, emotional relationship. The transitions between scenes and set changes flowed seamlessly; never was there a moment of unintentional disarray. Likewise, the chemistry between the cast was evident as they spoke one after another in rapid succession and appeared utterly comfortable on stage.

Overall, Hamlet was an engaging, emotional, and dramatic production. This show is a testament to the Guthrie’s legacy and dedication to excellence.

Hamlet is showing at the Guthrie until May 21 on the Wurtele Thrust Stage.

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Staff Writer Sonia Kharbanda wrote this review as part of the Journalism Day at the Guthrie contest. She received an Honorable Mention.