Orlando Shakes’ captures restless spirit of ‘Hamlet’

There’s a restlessness in the opening moments of “Hamlet” that’s captured vividly in the Orlando Shakes’ new production. Britt Sandusky’s sound design, evocative without overpowering, lets us hear an eerie wind and a disquieting squawking bird that certainly portends trouble.

The guards, scared of a ghost (played gravely by Kenny Babel), shuffle nervously along the wall of Elsinore. They are indicative of director Brian Vaughn’s appealing habit of keeping his characters in motion in a way that doesn’t distract from Shakespeare’s glorious words.

That restless spirit that fuels the story of intrigue in the Danish court is delightfully present in Junior Nyong’o’s portrayal of the title character, as well. Nyong’o brings a boyish energy to the part of the tortured prince that could almost be called gleeful — if Hamlet wasn’t so darn miserable.

Eyes glittering, Nyong’o makes it clear that Hamlet’s madness does indeed have a method to it. And he shows great thoughtfulness in deeper moments.

Director Vaughn only lets down Nyong’o once or twice. During the play within the play, Hamlet is strangely static. Surely he would be stealing glances at Uncle Claudius (played with quiet resolve, rather than pure menace, by Gene Gillette)?

And during Hamlet’s confrontation with his mother, things get too shouty. The tenor of the voices makes it difficult for Paige Lindsey White to convey Gertrude’s love for her son, but later she is lovely as she comes to realize all is lost.

In no small way, Jack Smith’s regal costumes and the elegant scenic design by Jim Hunter add to the thrills. Braziers burn orange, snow falls somberly, elaborate windows turn a ghostly blue.

Those two shows join the previously announced “Henry IV” and “Henry V,” the theater’s Shakespearean offerings, which will be presented in the spring of 2020.