On the caliber of the all-Equity actors in Ensemble Theatre Company’s (ETC) production of Shakespeare’s “Hamlet” at the New Vic Theatre, my companion noted, “I knew how it was going to end, but still they had me really rooting for that guy. I thought for sure he was going to come out all right at the end.”

“Hamlet” is a tragedy, so we all know how it’s going to end.

But despite nighttime encounters with ghosts; Hamlet’s premature loss of his father, the King, and his mother’s whiplash remarriage to his uncle; his girlfriend going crazy; midnight conversations with gravediggers; mistaken identities that result in killing the wrong guy; at least five different murder methods; gaslighting and other betrayals — somehow this production evokes our determination to hope.

You really do keep rooting for that guy, thanks to a compelling performance by Will Block in the title role, who we saw in ETC’s “The Thanksgiving Play” and “The Wickhams: Christmas at Pemberly.”

Director Margaret Shigeko Starbuck brings ample experience directing Shakespeare with companies and at venues across greater Los Angeles. And she fits right in at ETC. 

Working with a team of smart designers, Shigeko Starbuck engendered an intimate production that, though ostensibly set in modern day Denmark, applies anywhere, from small town to national scale. 

Eight actors play 17 roles in ETC’s signature economical style, with only two besides Block performing only a single part. 

Paige Lindsey White makes Hamlet’s mom easy to despise for her frailties, and despite the fact that she recognizes reality in the end, still leaves us discomfited.

As Horatio, Hamlet’s trusty sidekick and the one fully developed adult in the room, Jono Eiland brings the hope, with his faithful friendship, and the confidence that life goes on. Eiland makes you believe good guys endure.

Corey Jones is ominous as the ghost of the dead king, and even scarier as the commanding, conniving uncle who got the girl and assumed the throne. Karma plays a role in feeding our hope in his case.

Matt Foyer offers subtle comic relief as the well-meaning, but verbose Polonius, and plays the quasi-philosopher gravedigger as well. 

As Polonius’s obedient daughter and Hamlet’s angelic love interest Ophelia, Ann Nicolle Chavez embodies the innocent’s descent into madness when it turns out life can just be so wrong.

The creative peak in this spare production, and key turning point in the narrative, is when Hamlet enlists a traveling actor to reenact the story of the King’s murder.

An old-school overhead projector is wheeled onto the stage and Rafael Goldstein, as the itinerant player, narrates and performs a captivating shadow play projected onto a curtain at the side of the stage. His retelling is sharp, articulate, fast-paced and colorful. 

Sadly, Sammy Linkowski, with the most roles to play, wore a medical mask to mitigate risk of illness among the cast members, but it distracted from being able to really appreciate the acting. I hope the cast stays healthy throughout this run.

I love the opportunities ETC provides to learn more.

For this production, they offer a booklet that’s a solid primer for those of us who read Hamlet long ago, or who never did, illuminating basics of Shakespearean language to Nordic noir aesthetics that inspired this production.

Audience members can enjoy a Tea Talk before the matinee on Wednesday, Feb. 19, and a Pride Night pre-show celebration at 6:45 p.m. Thursday, Feb. 20 with a post-performance Talk-Back Q&A that same night.

Note, the show runs three hours, including intermission.

For tickets, visit etcsb.org or call 805-965-5400.