THE WOMEN LEFT OFFSTAGE

Lauren Gunderson reclaims Shakespeare’s
sidelined women in a sharp, emotionally
intelligent companion piece to Hamlet

The women in Hamlet exist largely to reflect Hamlet’s choices and actions. They are little more than props to propel the plot, with no backstory or motivation. Playwright Lauren M. Gunderson clearly feels frustration at this and channels that feeling in the best possible way she could: writing a play focusing on what conversations the women of the story might have been having.

A Room in the Castle bounces back and forth between key scenes featuring these two-dimensional characters in Shakespeare’s actual work and our seeing them on their own or with each other. No men actually appear on stage, but the script and director Kim Strassberger cleverly find ways to account for them in occasional voiceovers and scenes where we almost see Hamlet, slightly offstage. We watch a lovestruck Ophelia (Lyric Boothe) go from writing and singing songs about her beloved Hamlet to deeply questioning if this man is someone she can tolerate for the sake of becoming a princess. Simultaneously, we watch Queen Gertrude (Dianne Yvette) transform from a mother who would do anything for her son into one who fears his growing madness and must pivot to preserve some sense of self-identity. Vanessa Dinning completes the cast as Ophelia’s lady’s maid, who has watched over her throughout her life.

Lyric Booth as Ophelia

Gunderson’s writing (which is entirely in contemporary English—no attempts at sounding like Shakespeare’s blank verse) is sharp, quick-witted, and confrontational in the right places. A number of the monologues are gripping as the women reveal their inner fears and longings, while the repartee between the three is even more interesting. Plot is a wonderful thing, but great drama comes from strong characters and seeing how their relationships grow and change; this show explores those robustly.

Ms. Boothe leads off the show, introducing us to Ophelia. She brings a warmth to the role of the innocent-though-not-naïve young woman we barely meet in Hamlet. This gentle nature serves as a solid contrast to the intensity Ms. Boothe later brings to the role as Ophelia rails against the way she is treated, as well as society’s treatment of women as a whole. By contrast, Ms. Yvette commands us to pay attention to the domineering Gertrude from the second she enters Ophelia’s room; she is mesmerizing in her power, which is vital to our being moved as the chinks in the armor begin to appear. Ms. Dinning adds a key element in allowing us to see her reactions to what’s being said by the other two, even at times when she is barely speaking. Ms. Strassberger wisely has Ms. Dinning rein in her reactions; a lifted eyebrow or a suddenly pursed set of lips speaks volumes over some huge gasp.

Dianne Yvette as Gertrude

The show is serious in tone and subject matter, but both the script and direction allow for occasional moments of levity, which the cast handles well. There are a few scenes in the ninety-minute one-act where the script could stand a little editing—places where it feels as though the point has already been made—but overall, the text propels both plot and character development effectively.

One question that the concept brings to mind is: “Would a patron enjoy this show if they didn’t know Hamlet well?” The answer is a qualified yes. One can certainly follow and appreciate Moxie’s production with no background at all, but I was glad that I had leafed through a synopsis of Hamlet beforehand to refresh my memory of the characters and order of events. Quite honestly, the more familiar you are with Hamlet, the more you will probably appreciate this show. Perhaps a good comparison might be that anyone can enjoy Wicked, but it’s way more interesting if you’ve seen The Wizard of Oz.

Lyric Booth, Vanessa Dinning, Dianne Yvette

The production includes a set of television screens that show images implying a patriarchy looming over the women. While it does raise the creepiness factor (Ms. Strassberger noted she wanted to give it a horror-film feel), the effectiveness is mixed. The repeated sharing of the same video each time became a bit tedious when used as often as it is.

The direct connection to a weighty Shakespeare play, combined with the show’s overt feminist perspective, may prove intimidating to some potential audience members. That would be a shame, because this is a truly fine production. Judging from the energetic buzz in the lobby afterward, patrons willing to take a chance on A Room in the Castle are likely to find themselves deeply engaged.

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photos by Jason Sullivan

A Room in the Castle
Moxie Theatre
6663 El Cajon Blvd. Suite N in San Diego
Thurs–Sat at 7:30; Sun at 2
ends on June 7, 2026
for tickets, call 858-598-7620 or visit Moxie Theatre

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