"The Waterwell 'Hamlet' may be indifferently acted, for the most part, but it’s conceptually bracing, as befits a company devoted to reimagining and recontextualizing classics...The founders are exploring the existential crises that arise when national identity comes under siege, and it’s remarkable how neatly Shakespeare’s text accommodates such an interpretation...Those are the kind of reflections inspired by this 'Hamlet,' which is more intellectually than emotionally stimulating."
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"The production is physically graceful...The textures throughout are lush...The performances are mostly strong. But Hamlet is the drama’s prime mover, and Moayed’s elegant diffidence alters the play’s gravity...Moayed’s Dane blossoms as he plots; this Hamlet dances and shrugs and laughs his way to vengeance. We watch as Shakespeare’s most transparent character becomes opaque instead. If the play goes a little glassy, that’s a reflection of this new prince—sweet, but strange as well."
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"As a new look at one of the greatest plays ever written, Ridgely's production is worth seeing. However, despite many intriguing moments and ideas, it never shakes the feeling of being incomplete...Ridgely and the company use the dual dialects to sub in for characterization, almost as though they spent the bulk of their rehearsal time on simply getting the words down...A 'Hamlet' with big ideas up its sleeve is still a Hamlet worth watching."
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“Sure to re-whet your appetite for the Bard…This is no garden-variety Hamlet…The story of the play is always intelligible…The reshuffling of scenes and speeches keeps the play from tasting stale. The architecture aside, it's wonderful how easily a production falls into place when you have the right actors in the right roles...The entire acting ensemble is in fine fettle, and obviously delights in Shakespeare's language whether it's spoken in English or Farsi.”
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“Dazzling…It’s a perfect marriage of two radically different cultures and socio-political contexts. The intermittent use of Farsi and English never feels abrupt, but rather enhances the dramatic tension…I believe that even 'Hamlet' virgins would be able to follow the plot with ease, for the integrity of the play is not sacrificed over style…The production assembles a powerful cast…There’s also a sense of intimacy that makes it one of the most relatable versions of 'Hamlet.'”
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"This version of the play makes some unusual moves…Apart from those rather significant dramaturgical choices, it is a very recognizable production…Ridgely has created a ‘Hamlet’ that both reaches out to a community and offers a new perspective on Shakespeare that likely has not been seen before (stateside, anyhow), and may not again for some time. It proves once again the diversity and accessibility of the material and provides yet another way to examine this remarkable play."
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"Probably not for the first-timer to Shakespeare’s masterpiece...Although some cuts have been judicious, other aspects distract from the story...The discord between text and visuals begins almost immediately...One suspects that attention to the 'concept' has left some actors to their own devices. In any case, there’s a good deal of speechifying and not enough music in the language...The production may aim for revelations about 'Hamlet' by resetting it in Iran, but the payoff is spotty."
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“"An ambitious, bilingual production...Conceptually, the idea is brilliant and insightful. In execution, it is often muddy…Ajay Naidu is a particular standout for his wise, but chatty interpretation of Polonius...What truly makes the production sing—literally—are the musical interludes by Mohsen Namjoo and Yahya Alkhansa…Together, they create music that is simultaneously dramatic and hypnotic. Waterwell’s multicultural casting is another praiseworthy choice.”
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