![\"\"](\"https:\/\/www.newsbeep.com\/us-ca\/wp-content\/uploads\/2026\/04\/5_HAMNET_KyleFlubacker.jpg\")
Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company\u2019s \u2018Hamnet\u2019 at ACT in San Francisco. (Kyle Flubacker)<\/p>\nLolita Chakrabarti\u2019s adaptation from Maggie O\u2019Farrell\u2019s sweeping tale is a highly metaphoric jaunt through the thrill of new love \u2014 the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.<\/p>\n
Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company\u2019s \u2018Hamnet\u2019 at ACT in San Francisco. (Kyle Flubacker)<\/p>\n
In Erica Whyman\u2019s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker\u2019s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play\u2019s mystery. <\/p>\n
Chakrabarti\u2019s reimagined script veers somewhat from O\u2019Farrell\u2019s flashback-heavy 2020 novel. Yet it\u2019s respectful to the novel\u2019s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). <\/p>\n
While much about ACT\u2019s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story\u2019s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. <\/p>\n
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Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company\u2019s\u2018Hamnet\u2019 at ACT in San Francisco. (Kyle Flubacker)<\/p>\n
Some fantastic setups preface the second act\u2019s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet\u2019s demise is near; a gentle, well-paced staging doesn\u2019t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of Hamnet, Jacobs\u2019 cries as Agnes are guttural, produced from a place that only exists for those who\u2019ve bore and lost a child. <\/p>\n
While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. <\/p>\n
Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John\u2019s temper in O\u2019Farrell\u2019s novel, he\u2019s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. <\/p>\n
Art will always have the power to heal weary souls, contextualizing some of existence\u2019s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. <\/p>\n