By Liz Eichler
The World Premiere of Lauren M. Gunderson’s play A Room in the Castle is now running at Cincinnati Shakespeare Company. This new work offers a fresh take on Shakespeare’s Hamlet by reimagining Ophelia’s backstory. It dares to ask: How does a woman survive the court of Denmark? And what if Ophelia could escape her tragic fate?
The Premise of A Room in the Castle
The play begins with the familiar sound of wind, mirroring the iconic opening of Hamlet. As the lights come up, we find Ophelia (Sabrina Lynne Sawyer) in a room within Elsinore Castle, composing a song. She is confined, unable to leave on her own, living at the mercy of the royal family. Though not of royal blood herself, Ophelia—alongside her father Polonius and brother Laertes—is bound to the court. Polonius serves as an advisor to Queen Gertrude, who has recently married her late husband’s brother, Claudius, the man Hamlet suspects of murdering the former king.
Ophelia’s only trusted companion is her nurse/lady-in-waiting, Anna (Burgess Byrd), who acts as her advisor, mother figure, and friend. Anna’s warmth and wisdom provide solace to Ophelia, who is grappling with her impending marriage to Prince Hamlet. Once her childhood friend, Hamlet has returned from school a changed man, his erratic behavior both unsettling and confusing her. Yet, on the eve of St. Valentine’s Day, Ophelia’s youthful heart holds onto hope.
Queen Gertrude (Oneika Phillips) visits Ophelia in her room, reminding her of her duty to marry Hamlet. Gertrude explains he needs a wife to solidify his position and help him grieve. The audience is also given an intimate view into Gertrude’s private world. In her chamber above Ophelia’s, she removes her crown and reveals both her strength and her vulnerability. This layered portrayal underscores the sacrifices women in the court must make. Gertrude’s moments of levity—including a love of wine—offer a glimpse into her humanity and a break from the calculated moves required of her as queen.
Direction
The play parallels the events of Hamlet, with projections (Robert Carlton Stimmel) marking time through the course of Shakespeare’s scenes as the characters hurtle to their conclusions. Yet, Gunderson presents an alternative: What if Ophelia’s story doesn’t end in tragedy? What if she escapes the confines of royalty and reclaims her life?
Under the direction of Kaja Dunn, the pacing, relationships and performances are exceptional. Sabrina Lynne Sawyer’s Ophelia is tender, appropriately awkward and resilient, capturing the character’s inner turmoil. Burgess Byrd’s Anna brings warmth and grounding to the story, while Oneika Phillips delivers a powerful Gertrude, balancing her regal responsibility with vulnerability.
Design
The production’s design elements amplify the story beautifully. Nicky Smith’s costumes reflect the timeless-yet-modern aesthetic of the play. Gertrude’s gorgeously tailored gowns exude elegance and authority, while Ophelia’s school-uniform-inspired attire subtly hints at her youth and lack of agency. Anna’s comfortable yet refined clothing underscores her nurturing role.
Samantha Reno’s scenic design transports the audience to a castle steeped in history, with gothic arches, stone walls, and flickering sconces. Feminine touches like pink cherry blossoms add a layer of symbolism, representing rebirth and new beginnings.
The sound (Sarah O’ Halloran) and lights (Max Doolittle) allow us to see and focus on the characters. They also cleverly become the characters in Hamlet, jarring the ladies out of the world they’d like to build. The music choices, both pre-show and post-show, enhance the show—and once again–a CSC playlist worth revisiting.
Themes of A Room in the Castle
Thematically, A Room in the Castle celebrates the resilience and inner lives of women who exist in the shadows of powerful men. The recurring motif of women being trained to “Obey, Agree, and Assist” highlights the tension between societal expectations and personal desires. Gertrude’s justification for marrying Claudius—to protect Hamlet and the kingdom—illustrates the difficult choices women in power must navigate. Gunderson skillfully uses moments of levity, such as Gertrude’s quip about wine being a strategy, to unmask the characters’ true selves. The play’s blend of modern sensibilities with its historical setting creates a rich and thought-provoking experience.
Overall
Clever language, rich characterization, and a hopeful reimagining of a classic story make A Room in the Castle a captivating 85-minute journey. I recommend you see this show if you are a fan of Hamlet, of Gunderson’s works (The Revolutionists, Ada and the Engine, The Book of Will, Silent Sky and more), or see yourself in an untenable situation and need some hope.
Tickets to A Room in the Castle
The production runs through February 9 at Cincinnati Shakespeare Company and will transfer to the Folger Theatre in Washington, D.C., in March. Tickets for the Cincinnati run are available on the Cincinnati Shakespeare Company’s website.
A Room in the Castle is part of CSC’s two year journey of PROJECT HAMLET, which included last year’s production of Hamlet in a free touring show (with Beasley nailing the title role) and the Pulitzer Prize-winning contemporary take on Hamlet Fat Ham. A Room in the Castle was commissioned by CSC. Acclaimed playwright Gunderson specializes in giving voices to silent characters in history and literature. Gunderson attended the opening, resplendent in pink, sitting with director Kaja Dunn.
