There are a thousand adaptations of Hamlet floating around the theatre world, all convinced they’ve finally cracked the code of the melancholy Dane. But Moxie Theatre’s production of "A Room in the Castle" may be my favorite version of "Hamlet" yet because he never actually appears onstage. Which I love because that man has been monologuing in castles for centuries. It was time for the women to grab the spotlight, and perhaps a sharp object or two (daggers for everyone!).

Lauren M. Gunderson’s feminist reimagining shifts the spotlight onto Ophelia (Lyric Booth), Queen Gertrude (Dianne Yvette), and Anna (Vanessa Dinning), a newly imagined lady’s maid who may be the only person in Elsinore with a survival instinct. The prince remains an unseen force haunting the edges of the play, but this story belongs to the women trapped inside the castle walls, trying to survive the wreckage left behind by grief, patriarchy, and emotionally catastrophic men.

Under the direction of Kim Strassburger, this isn’t a fairy tale kingdom. Elsinore feels like a prison disguised as a palace, complete with eerie video projections that fast-forward us through the events of “Hamlet” to the moments just before, during, or immediately after these women are pulled into the chaos. The ever-watchful projections become their own form of surveillance, constantly reinforcing impossible ideals of womanhood while reminding the audience of how little space these women are allowed within the original narrative. Beneath the wit and heartbreak is a warning: do not allow powerful men, institutions, or traditions to define femininity for you.

Photo Credit: L-R - Lyric Booth, Vanessa Dinning, and Dianne Yvette Min Moxie Theatre’s “A Room in the Castle” (Jason Sullivan and Moxie Theatre)

The technical design work deepens the production’s haunting atmosphere. Anabel Olguin-Natale’s costumes clearly define each woman: Gertrude’s royal purple gowns feel both majestic and suffocating, her crown and necklace are beautiful shackles disguised as luxury; Anna’s structured blue practicality suggests someone perpetually prepared to clean up everyone else’s mess and restore order; and Ophelia’s floaty dresses and boots give her a soft femininity with a rebellious edge that suits the character’s restless spirit. Julie Lorenz’s stark scenic design, including a chandelier that also evokes an ever-present and hovering crown, Zoe Yahrling’s sound work, Stephanie Ma’alona’s lighting, and Michael Wogulis’ projections all combine to create an Elsinore that feels isolated, claustrophobic, and emotionally dangerous.

Fear not if you have not seen “Hamlet” in a while; “A Room in the Castle” does not require in-depth knowledge of it to be enjoyed. Though some of the jokes land better if you know the original, Gunderson’s script stands entirely on its own. It’s sharp, funny, devastating, and ultimately empowering in ways Shakespeare rarely allows his women to be.

So, get thee to Moxie Theatre, the women of Elsinore finally have the stage.