In this contemporary feminist reimagining of Shakespeare’s Hamlet, New Zealand playwright Jean Betts gives Ophelia the spotlight, reassigning her the best lines — those originally written for Hamlet.

Ophelia, portrayed by Brea Macey, appears draped in mourning attire, complete with a black veil. Her performance is a whirlwind of petulance, overly dramatic gestures, and an incessant barrage of complaints and anger. Unfortunately, her vocal delivery can be grating, as her shouting often overwhelms the intimate theatre setting. Still, when she’s not raising her voice, Macey’s portrayal is captivating and full of nuance.

Shaw Cameron shines as Hamlet, diving into the character’s charming yet toxic misogyny with impressive confidence. Cameron interacts playfully with the audience, selecting a member to address directly, almost flirtatiously. As Lord Hamlet, he teases and taunts Ophelia, patting her on the head, oblivious (or indifferent) to the depth of her feelings for him and the frustration his dismissal causes her. However, Hamlet is a conniving character. While he initially appears charming, his cruelty and toxic, abusive behavior quickly become evident. He accuses Ophelia of being a pernicious woman who must “repent for her sins.” Desperate to please him, Ophelia vows to mold herself into whatever he desires — a pure, sweet, and submissive virgin.

This is a time when men are at the center of the world and there are numerous slights toward women, such as Ophelia’s father telling her “women must avoid forcing the brain” and “their dominant organ is not the brain, it is the womb”, reinforce this restrictive view of women’s roles.

Men and women are not equal, however there are women who have learnt how to live well in this society and feisty Queen Gertrude, played by Lucy Miller attempts to empower Ophelia with her guidance. Miller deserves a standing ovation for formidable performance in the scene where she puts Hamlet in his place.

After a musical interlude, the play continues and the second act twists the viewpoints and Ophelia is presented with an alternative, feminist driven – way of thinking.

The production is also supported by a strong cast, including the noble Horatio (Pat Mandziy), Ophelia’s wise and considered Maid (Eleni Cassimatis), along with gender shifting Rosencrantz (Hannah Raven) and Guildenstern (Julia Bettens) and and Finley Penrose who plays a ghostly Joan of Arc.

Stage design by Hannah Yardley and Jimi Rawlings made good use of the small space creating two constrasting sets in the one room, with floor to ceiling greenery on one side and a Madonna altar, adorned with flickering candles on the other.

The play boldly explores themes of physical and sexual violence, mental health, and suicide. Some scenes are intensely graphic, depicting abuse and simulated sexual violence. With its raw portrayal of these themes, the 150-minute show (including interval) leans more towards drama than comedy, despite the occasional levity brought by Shaw and Miller’s performances.

3 stars.

Co-produced by Jade Fuda and Alex Kendall Robson (who also directs), Ophelia Thinks Harder is staged by Fingerless Theatre in association with bAKEHOUSE Theatre Company at KXT on Broadway, running until 29 March 2025.

For tickets visit: https://events.humanitix.com/ophelia-thinks-harder