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By DAVID. A
ROSENBERG

Hour Theater Critic


In 1922, the Great Profile (a.k.a. John Barrymore) played the Great Dane (a.k.a. Hamlet) to much acclaim. Now on Broadway we have a double dose of Barrymores: "The Royal Family" is a funny satire of the celebrated clan, while a stark new "Hamlet" is in the tradition of stars who've taken on this signature role. Both are worth seeing, despite uneven concepts and executions.

The star playing Shakespeare's Dane this time is the screen's Jude Law whose cynical and despairing Hamlet is this generation's Angry Young Man. Holding a mirror up to our troubled times, Law's morbid prince so hates the harsh, "foul and pestilent" world that he longs for death and is suicidal from the outset. It's a knife-at-the-throat performance, filled with imminent danger.

The Donmar Warehouse production, directed by Michael Grandage, that London company's artistic director, starts in blackness, save for a piercing spotlight that picks out the grieving Hamlet. His father having been killed by Claudius, the uncle who thereupon married the dead king's widow, Hamlet's mother Gertrude, the prince is understandably bereft. Having lost all his mirth, only the traveling Players interest him. He's so wrought up, only the "felicity" of death will release him.

It's a perfectly valid interpretation, especially in today's cold and frustrating climate of wars and incivilities, of natural and man-made extinctions. Yet, except for one or two moments, it doesn't allow for much variation. The relationship with Ophelia is as devoid of emotion as that with his mother, although one reason is the weakness of the actresses playing those roles.

We catch a fleeting glimpse of his inner pain most in the Yorick scene where he speaks tenderly and nostalgically of the long-dead jester who enlivened his childhood. Law's Dane may not be moving nor particularly poetic, yet it is forceful and he's a Hamlet of passion and clarity.

Genuine stars have a tendency to take over, consciously or not. Take Rosemary Harris who lights the galaxy in the current revival of George S. Kaufman and Edna Ferber's 1927 "The Royal Family." Now playing family doyenne Fanny Cavendish, she played Fanny's daughter, Julie, in a 1975 revival. Fortunately, Julie is now in the hands of the wonderfully wry Jan Maxwell, but the production isn't as memorable as it was when Harris was Julie and Weston's Eva Le Gallienne was Fanny.

Doug Hughes' direction, starting slowly, eventually matches the heightened state of theatrics in which this family functions. Not all the acting is consistent, though, with exceptions such as David Greenspan's marvelously effete butler.

Still, this is an urbane, witty valentine to theater. At its core is the conflict between showbiz's artificial bright lights and society's dull bean-counters. Both the once-married Julie and her daughter Gwen must choose between the theater and alliances with rich, dependable businessmen. ("I can give you the names of actors and actresses of 300 years ago," says Gwen to her financier fiancé. "Name me two 17th-century stockbrokers.")

The plot, which includes a wild concoction about matinee idol Tony (the John Barrymore character) who's fleeing a rejected lover, is an excuse for a loving tribute to theatrical flamboyance and magic. As Tony, Reg Rogers is the perfect ham. Whether running about in an enormous fur coat, fencing as if he were Errol Flynn or pretending to be a bellboy, Rogers jumps for joy.

As Julie, Maxwell makes everything an act. ("Am I center?" she asks before reading a letter.) Whether throwing herself hysterically to the floor (but making sure she gets to the theater on time) or striking the correct pose to entice a would-be husband, Julie manufactures emotions while showing genuine feeling for her family and Maxwell plays all the strings with dexterity.

As Fanny, the irreplaceable Harris sweeps her words from orchestra to second balcony while eyeing all the folks along the way. In her hands and voice, "get out" is a symphony, "quaint" is a three-part novel. She ought to be bronzed.

The theater is "all that's kept me alive," says Fanny. Both "Royal Family" and "Hamlet" demonstrate anew what salvation the theater has always been, will always be.


"Hamlet" is at the Broadhurst Theater, 235 W. 44th St., N.Y., through Dec. 6.

"The Royal Family" is at the Friedman Theater, 261 W. 47th St., N.Y., through Dec. 13.

For both, call (212) 239-62OO or visit www.telecharge.com

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