Love Conquers All in Domino Theatre’s ‘I Hate Hamlet’
Alas, the poor theatre-lover yet to witness Domino’s latest! An ode to the tremendous play often revered as the greatest ever written, Domino Theatre presents I Hate Hamlet, written by Paul Rudnick and directed by Craig Norton. Contrary to its title, the play is a spirited appreciation of Shakespeare’s masterpiece as well as a character study charting the difficulties of pursuing an acting career, the daunting nature of theatre, and the question of whether to follow dreams or success.
Fresh from Los Angeles and moving into the historical New York apartment once occupied by renowned Shakespearean John Barrymore (Donald Mitchell), Andrew Rally (Alex McLarry) is a young actor getting ready to play Hamlet for the first time. In a doubt-filled fluke, Rally spouts his hatred of Hamlet, accidentally summoning Barrymore’s indignant ghost, who takes on the mission of helping Rally prepare for the role. As the mantle is passed down, Rally experiences many of the career setbacks and obstacles often faced by working actors.
Domino Theatre’s set designer Bob Brooks has done it again— I Hate Hamlet unfolds upon a beautifully realized stage. The set-building crew has transformed the space into a high ceilinged, Renaissance-inspired New York apartment. It is lush and levelled, full of intrigue yet leaving plenty of space for actors to move. The red walls arc inwards towards the centre to create a nice eyeline of focus, eventually meeting at a statement window. Along the walls a fireplace sits, a curved staircase rises, and set pieces covered in sheets wait patiently for their reveal.
The transition from Act One to Act Two– an elegant change from the modern-tempered Rally into the regal theatrics of Barrymore– is effective to the extreme. The set is beautiful from top to bottom, but the sparseness of the yet-to-be moved-in apartment growing into the imposing artist’s lair is a delight. I appreciate how the apartment, which is the catalyst of all the plays’ action, remains just as thematically relevant through set dresses and props work as it is through the play’s content. As Rally changes under the mentorship of Barrymore, his environment shifts with him.
This grandiose set is so very dimensional in build, yet not accompanied by a parallel lighting feat. An attempt is made at including an interesting aspect of character-driven lighting design representing Rally’s descent into the role of Hamlet with increasingly dramatic combinations, yet I found it underrealised. The glimpses into the fantastical—ghostly appearances, invigorate sword fights, inspired monologues—using the blue lights are excitingly distinctive, but are flattened as soon as the blue light’s time is up. It is a shame to see such a beautiful set lit like a warehouse.
Many features of the set also serve as diegetic lighting components, presenting leagues more opportunities for flare than are taken. The paintings can glow but only do so for seconds at a time, the fireplace can roar but instead only smoulders and only once, the candles flickered unnoticed in the back, and the chandelier remained on at all times, flushed out by the stage lights. So many depth creating features are under-utilized. There is a noticeable potential to these lighting proponents, but they needed more stage time and creative incorporation throughout the show’s entirety. The spot lights, however, were properly realised for some dream-like romance at the top of the stairs.
Mitchell envelopes the stage, cut from a cloth called cool. He enters a separate caliber from his co-stars, performing to the breadth of strength it would take to be in a Shakespeare play rather than a Rudnick. If everyone else is in I Hate Hamlet… Mitchell is in Hamlet. Barrymore is an assertive character, larger than life despite his being dead. This show is at home in Mitchell— he plays Barrymore with true prowess, harnessing all his candor, charisma, cunning, and glory. I Hate Hamlet calls for Barrymore to exist in bold distinction from the other, more modern-flavoured personas, and Mitchell settles comfortably into characteristic splendor. His capabilities live up to the fabled greatness of Barrymore: Mitchell is a great actor playing a Great Actor.
He has great chemistry with Lynn Kerr as Lillian Troy; a wistful moment is shared between them as they rekindle memories of a past love affair. Though sporting an accent I’m not sure is as German as it is vaguely European, Kerr does achieve a great character in Lillian: both bitingly fun and mysteriously reserved, she carries within herself a quiet wild side while remaining ever composed. McLarry as Andrew Rally is suitably unsure and awkward, a great opposite and scene partner to Mitchell’s Barrymore. His and Deirdre’s (Taylor Stevens) relationship problems are rendered believable by their chemistry– the pairing is truly reminiscent of a couple who have never had sex before. Individually, Stevens is a very sweet actress, bringing Dierdre’s optimism everywhere she goes.
Mitchell remains in “Hamlet” attire the entire show, and commands himself as such: even his oft-mocked tights add to his stateliness. Dierdre is beautifully dressed in gown after gown, going from daytime dresses to nightgowns, remaining in the stylistic schema of the “young maiden fair.” The modern looks of Felicia Dantine (Madeleine Smith) are very classy and fitting to her character. A seemingly evasive achievement in modern theatre productions, outfitting an up-to-date look with style and no graphic tee-shirts is rare: I commend designer Liz Schell for avoiding such tackiness. Dantine has a real, on-trend, traceable sense of fashion. The TV writer Gary Peter Lefkowitz (Craig Deacon) is dressed in business-casual: jeans are paired with a tan blazer, and he sports no tie but a lazily draped scarf. Having the scarf is not only perfect douchebag material, but is also a real tool for Deacon as an actor. He is such a TV guy, and such a salesman. The small hints at swagger that he so stubbornly trudges through and his sense of intrigue that he neglects but also covets allows his character to walk a balanced line of taste and indifference. Lefkowitz doesn’t want to look like he’s trying… but he’s trying.
I recommend stepping out to see Domino Theatre’s latest production. I Hate Hamlet is a witty romp with skilled actors and a fast-paced directing style. The smooth changes in action and conspiring storylines make for an enjoyable watch.
‘I Hate Hamlet’ runs at the Domino Theatre until September 26, 2026. You can find tickets and other information here.
