If you want a clear plot, conventional heroes and villains, or an evening free of disturbing material, ‘Les Enfants Terribles’ at East Village Basement is not the play for you.
How can an actor make an audience care about a character who speaks with a ghost, is consumed by his mother’s remarriage, helps drive the woman he loves toward suicide, and kills three men—two of them unarmed? ‘Becoming Hamlet’ answers this by removing the distance between spectator and prince: the audience does not merely observe Hamlet’s turmoil but assumes its many dimensions.