There's a terrific reason to see Hamlet at Stage First. It's Jay Apking in the title role giving a thoughtful, urgent, physical and ultimately captivating performance as the passionately angry and doomed prince.

        This is reportedly his last role in Cincinnati before heading south. I wish he'd change his mind and stay. Write your children's play here, Mr. Apking.

        Hamlet is a real step up for Stage First, its best outing in its four-year history. That's thanks largely to an evenly cast ensemble peppered with local reliables including Michael Bath, Jim Stump and Jerry Lowe (in multiple roles) and capable newcomers from the University of Cincinnati College-Conservatory of Music and Miami University, playing out the tragedy of a young man haunted by his father's ghost and plotting revenge on his murderous uncle.

        This is a Hamlet with a singular point-of-view, that of director Greg Procaccino, whose take on Shakespeare's revenge tragedy ranges from intriguing to bizarre.

        It's set in 1930s Denmark, which could be an inspired choice. If the purpose of moving a classic into a modern setting is to illuminate it for a contemporary audience, then Mr. Procaccino could hardly have chosen better. In the 1930s, Europe was on the precipice of war, and one of Hamlet's subtexts is the threat of an invading force.

        The shadow of fascism and what's at stake both at court and in the world arena could have added a chilling layer to the action — except the subplot has been excised.

        So why the 1930s? For the nifty clothes?

        What might have been is underlined by Brent Hodge's stark set, with castle battlements that suggest the prison Hamlet finds Denmark to be, and by Troy Bausch's smart sound design that makes good use of the radio (although it doesn't air much in the way of news).

        Mr. Procaccino gives wonderful definition to Hamlet's relationship with courtier Ophelia (Julie Toliver), and his inclination to get his players up close and personal adds to the show's energy.

        On the other hand, I assure you that never before and never again will you see Ophelia's father Polonius played to resemble Nazi chief Hermann Goering rather than the fool Shakespeare wrote him to be. Mr. Stump pulls it off, and returns later to delight as an assistant gravedigger.

        The production features the best fencing scene in recent memory as Hamlet and Ophelia's brother Laertes (David Zelina) raise their rapiers as the tragedy races toward its corpse-strewn conclusion.

        While Cincinnati has more than its fair share of first-rate fight directors, they have to spend too much time making actors who can't fight look like they can. The agile and able Mr. Apking and Mr. Zelina fling themselves into a hell-bent fray, wonderfully choreographed by Matthew Pyle.

        The stage is arranged with audience on three sides. Stay away from the right side. Mr. Procaccino isn't adept at placing his players to make a working stage picture for audiences sitting anywhere but the center section.

        When there are more than three people onstage, your view will be completely blocked by the backs of supporting players (as mine was) a lot of the time.

        Hamlet, through Feb. 18, Stage First, Aronoff Center Fifth Third Bank Theater. 241-7469.
       

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