The IndyFringe Theatre; through Feb. 12.
Just to be clear, Young Hamlet is essentially Hamlet; it's just not the Hamlet you're probably used to. As declared in the director's note, this is the version that Shakespeare released in 1603. The changes are not major: names are altered, and the famous soliloquy is worded differently.
The highlight is the direction of Terri Bourus, who seeks to emulate the "start-up cash-strapped company that first performed Hamlet on the fringes of London."
Caring not for a coherent costume scheme, nor for boundaries between classic drama and contemporary music, Bourus captures the essence of Shakespearean production. Some anachronisms are welcome, including the lovely guitar accompaniment, but I am puzzled by the 'anything goes' costume scheme. Do the other characters notice when Hamlet, and then Ofelia, don Nazi armbands?
Energetic and seasoned performances are delivered by Maria Souza Eglen, playing Ofelia, Ryan Powell, playing Leartes, and director Bourus, who plays Gertred.
However, Young Hamlet flags at times, and the towering difficulty of the show makes itself evident from a lack of cutting. It is still worth seeing, especially if you endorse the 'pure,' or academic treatment, of classic drama.