A Room in the Castle, Folger Theatre, Washington, DC

 

Oneika Phillips as Queen Gertrude and Sabrina Lynne Sawyer as Ophelia in Folger Theatre's world premiere of A Room in the Castle, written by Lauren M. Gunderson, directed by Kaja Dunn. Co-produced with Cincinnati Shakespeare Company. Photo by Erika Nizborski.

William Shakespeare created dozens, if not hundreds, of characters as a playwright. The fact that the great majority of them are men should probably not be a surprise due to the facts that (a) Shakespeare was a man, and (b) at the time he was writing, only men were allowed to act on stage. Oh, there are women here and there, some of them prominent, but most relegated to supporting or minor roles. And even some of the major roles for women (Lady Macbeth and Juliet, for example) are defined more by their relationships to male characters rather than to their own individual personalities and situations. There is, it seems, no “room” for the females.

A Room in the Castle, a world premiere of the play by Lauren M. Gunderson, on stage at the Folger Theatre through April 6, finds room for three of them, both physical and metaphorical. She focuses on three female characters from perhaps Shakespeare’s most famous play, Hamlet: Queen Gertrude, Ophelia, and Anna. Gertrude and Ophelia are important to the plot of Hamlet. Anna is something of a companion to Ophelia who may have existed in the original but is not named in lists of characters when the play is read. She reminds me, as written here, of Juliet’s Nurse, a kind of mother figure for the motherless Ophelia. Gertrude is a different kind of mother: the wife of a king who is murdered, she quickly marries his brother, thus remaining queen and preventing her son, Hamlet, from becoming king.

Some of the action in A Room in the Castle appears to be simultaneous with what is happening as Hamlet would unfold. And, of course, Hamlet is never far from the center of the attention of the characters: though he is never physically on the stage, he appears as an otherworldly apparition, his ethereal form announced by changes in the lighting and sound as well as physical reactions by the actors.

Ophelia appears as a fairly typical young woman, initially seen on a fainting couch in her (physical) room, playing the guitar while attempting to write a song for Valentine’s Day. She is betrothed to Hamlet, who has been acting very strangely lately, as she confides to Anna. His odd behavior is unnerving, leaving her not quite sure of where she stands. Is she destined to marry and become his princess, or are other forces at work?

Queen Gertrude has her hands full: she, too, is concerned about her son’s mental health and his future. She believes that if she can get him married to Ophelia, things will stabilize so that she can get on with her life and stop worrying (or at least worrying less) about her son. Gertrude decides to work with Ophelia rather than against her, in order to accelerate their marriage. She becomes a kind of mentor (and another mother figure) to Ophelia. Woman helping woman.

Numerous twists and turns follow as the three create and attempt to execute their plots. Gertrude is the driving force, abetted by Anna and often questioned by Ophelia. Her imposing position as Queen gives her greater power, though it does not immunize her from inevitable events (as dictated by the play). I am reminded of the premise of the current musical & Juliet (which I have read about but not seen), which asks the question, “what if Juliet does not kill herself after Romeo dies?”

Sabrina Lynne Sawyer as Ophelia, Burgess Byrd as Anna, and Oneika Phillips as Queen Gertrude sharing some wine sharing  in Folger Theatre's A Room in the Castle.

Gunderson provides some interesting possibilities for Ophelia, resolving some issues but leaving others for us to imagine. Gunderson’s perspective is intriguing, resulting in moments of contemplation and others of great humor: a scene in which the three share a basketful of bottles of wine is a highlight. The characters exist in a combination of the contemporary world and the past: we are in a castle, but Ophelia’s room in that castle could have been the replica of a 2025 college woman’s room set up in a medieval locale. We are also treated to the view of the Queen in the dressing area of one of her rooms, located above Ophelia’s (as it should be).

Lifted as they are from Shakespeare’s original, Queen Gertrude and Ophelia must take on certain basic characteristics, but there is considerable latitude beyond those that the playwright and performers may (and do) take. Since Anna is generally created as a confidante (and co-conspirator), her character evolves as events require.

A Room in the Castle is a co-production by DC’s Folger Theatre and the Cincinnati Shakespeare Company (apparently known as “Cincy Shakes,” which is a terrific nickname). One of the performers is a Cincy Shakes veteran, one is a Folger veteran, and the third is appearing with those companies for the first time. Each creates a vivid character that lives in the “room” that Gunderson creates for them.

Oneika Phillips as Queen Gertrude is the newcomer to both companies. Phillips commands the stage with every appearance, entering the action in an elegant blue gown that is neutral as to its period, later appearing in red and then black and white, never without her crown. Her very presence communicates a kind of regal authority, reinforced by facial expressions and a voice that leaves no doubt as to who is in control.

Sabrina Lynne Sawyer as Ophelia is the Folger veteran, who has also appeared with DC’s Studio Theatre and Woolly Mammoth Theatre. Her Ophelia is vivacious, talkative, sometimes tentative, bumbling, and confused, all at once. Her alliance with Gertrude develops slowly as she must overcome her distrust. Sawyer projects youthful sincerity with every line and every move.

Burgess Byrd as Anna, the Cincy Shakes regular, appears to be having a great deal of fun as Anna. Anna is, by turns, sympathetic, maternal, playful, protective, encouraging, optimistic, and scheming. Byrd moves easily from one mood to the next, developing her relationship with Gertrude as Ophelia does.

Kaja Dunn’s direction ensures that the three performers are in sync with each other; each gets her moment(s) to shine, working together as a true ensemble. Dunn makes the most of the set, designed by Samantha Reno, which fills the Folger’s stage, making use of the theatre’s architectural features while creating simultaneous contemporary and historical perspectives. I like Nicole Jescinth Smith’s costumes for Gertrude and Anna, but not the dress Gertrude chooses for Ophelia: Gertrude chooses it from Ophelia’s closet, but it seems more waif-like than something Ophelia would have in her wardrobe. In addition to basic illumination, Max Doolittle’s lighting design creates those “otherworldly” moments, aided by the effective music and sound design of Sarah O’Halloran.

Theatre fans and especially Shakespeare afficionados should make room on their calendars to see A Room in the Castle, which continues at the Folger through April 6. Go early and spend some time enjoying the many artifacts and items in their on-going exhibitions in the recently-renovated space below the theatre level.

Burgess Byrd as Anna, Sabrina Lynne Sawyer as Ophelia, and Oneika Phillips as Queen Gertrude in Folger Theatre's A Room in the Castle.