This piece was adapted from a conversation on PSF’s new podcast As You Mic It. Edited for clarity and flow with approval from both participants, while preserving the original spirit.
Directed by Lindsay Smiling, this summer’s Hamlet promises a fresh lens on Shakespeare’s iconic tragedy. In a recent conversation with Artistic Director Jason King Jones, Lindsay shared insights into his thematic focus, creative vision, and casting choices.
Jason King Jones: What drew you to direct Hamlet at PSF?
Lindsay Smiling: I’ve had the pleasure of acting in several productions at PSF over the years, and I’ve genuinely loved every experience. There’s always been such a wide range of approaches to Shakespeare, and a consistent company of talented
actors. So, I knew the level of work and artistic integrity would be high—and when I was asked to direct Hamlet, I was thrilled.
And Hamlet itself? It’s on a lot of people’s bucket lists—including mine. It’s iconic. For many, it’s the Shakespeare play to work on—whether you’re an actor, a director, or part of the creative team. It’s the one. I love the entire canon, and this piece is no exception.
Jason: Are there any themes or interpretations of the play that you’re excited to explore?
Lindsay: I’ve always been fascinated by the play’s opening line—“Who’s there?”—and what it reveals about humanity. Hamlet offers so many opportunities for internal reflection. At its core, it’s asking: Who are we, really? What defines our nature? And how do we navigate the “outrageous fortune” of our circumstances? That’s the biggest theme I’m excited to explore.
As an actor, my work has always centered on internal life—how we uncover it and then share it onstage. What draws me to Hamlet is that inward focus. How can we build a production that not only tells the story but invites the audience to see themselves in these characters?
Jason: How do you approach directing such a well-known and frequently performed play?
Lindsay: People have all these iconic Hamlet moments ingrained in their heads—but I try not to let that dictate how I approach a scene. My focus is on staying present with what the actors are bringing in the room, rather than chasing some fixed idea of how it should be.
I approach it the way I would as an actor—moment to moment. And that means being reflective and honest with myself: Am I responding to what’s actually happening in the room, or am I trying to recreate someone else’s version that once thrilled me? I want to treat it like a new play—letting go of the weight of its production history and staying open to discovery in rehearsal.
Jason: Will your Hamlet have a unique setting or conceptual twist that audiences should know about?
Lindsay: I always start with the human story—what the characters are going through—and then ask: How can the setting help support that? We’re not locking into one specific time period. Instead, you’ll see elements from different eras colliding—a kind of clash that mirrors what the characters are going through: This is who I was. Who am I going to become? Who do I want to be? And if I’m not actively fighting against these forces, where does my drive ‘to be’ even come from? All of that is in tension with the established morals and social constructs they feel obligated to uphold.
Jason: Let’s talk a little about the cast. We’ve assembled a really strong ensemble. Of course, we can’t name everyone, but could you share a bit about these artists?
Lindsay: We’ve brought together a fantastic group. It’s a company with a wide range of experience with Shakespeare—some are seasoned vets who’ve spent years in the text, and others have dipped into it at various points in their careers. That kind of mix creates a really dynamic environment, and I’m excited to see how it all comes together.
I’m especially excited for Biko Eisen-Martin to lead the way as Hamlet. He brings so much passion and depth to every role he takes on. We’ve already had some great conversations about what excites him about the part, and how he’s thinking through it moment-to-moment. I think he’s going to bring something really compelling to the role.
Grace Gonglewski is playing Gertrude, and she’s someone I’ve admired for a long time. She’s always stood out to me as one of the powerhouse performers in Philly. Her experience with Shakespeare—and her investigative approach to it—is outstanding. I love what she’s bringing to the table. I knew I wanted Gertrude to be a force of nature, and Grace fits that perfectly.
And you, Jason—you’ve brought in two phenomenal actors I absolutely adore: Sean Close and Maboud Ebrahimzadeh. They both have such great playfulness in them. Shout out to Rosencrantz and Guildenstern… they’re going to be amazing!
Jason: Yes! Having that rich ensemble—the depth of artists we’ll have on that stage in the repertory company—it really feels like a gift to work with.
Lindsay: Totally. It’s a great group—such wonderful performers and beautiful people. That’s a huge part of how I like to work: not just with talented actors, but with lovely spirits. This cast fits that bill perfectly.