Photo credit: Manuel Harlan
Quite unlike any other RSC version of this endlessly malleable play, Hamlet Hail to the Thief is a coming together of the music of Radiohead and an excellent group of Shakespearean actors. Inevitably, many audience members will come with prior knowledge of one or the other, though the lucky few familiar with Radiohead AND Shakespeare will probably have the best time. There does seem to have been an assumption that audiences will know both; the programme contains neither synopsis of the play nor the lyrics of the album.
Interesting to note that one of the broadsheets sent their rock and pop critic to the show, and his review discusses the musicians in detail but does not mention any of the actors. WEBF is a theatre site however, so we will be reviewing this as a production of Hamlet; and a fascinating one too, intelligently shortened to 100-minutes and strongly cast. The production has been mounted by Steven Hoggett and Christine Jones (Co-Creators and Co-Directors), with Thom Yorke (Co-Creator and Orchestrator). Jones also founded the design collective AMP which also worked on the production, on this occasion with Sadra Tehrani.
The set is striking: a monolithic wall of speakers that could be doors, windows or even the arrow slits of Elsinore. Below them, the band can be seen behind recording studio windows and overhead hanging black coats, perhaps an intimation of the fate of most of the characters since the coats return after the climactic combat. Stunning lighting from Jessica Hung Han Yun and projection designs from Will Duke ensure that this unchanging basic set comes alive with movement and pattern.
Perhaps the most interesting aspect of this adaptation of the text is the focus on Horatio (Alby Baldwin) as Hamlet’s friend. This enables us to see Samuel Blenkin’s remarkably edgy and powerful Hamlet through other eyes. Hamlet is always at the centre of attention as he spirals out of control and becomes, in this production, fully detached from reality.
Paul Hilton is remarkable too as an uncertain Claudius (and as the Ghost). Claudia Harrison as Gertrude has less involvement in this adaptation but Ami Tredrea’s striking Ophelia is brought to the fore. The whole cast commit fully to the production and particularly to Jess Williams’ choreography; for this reviewer, the most stunning aspect of the production. Working with actors rather than dancers, she has created the most remarkable range of movement, including some repeated dying falls or leans that are quite mesmeric.
Those more attracted by Shakespeare than Radiohead may find that the initial visceral impact of the music begins to work with the actors rather than alongside them as the piece progresses. As madness takes hold and Ophelia meets her fate, music and text are in unison. The final thrilling fight reaches filmic levels of blood-letting which seems to chime with the score that accompanies it.
Not perhaps for every Shakespeare lover, this is an innovative take on the text and a stunning production which will prove most effective to Radiohead fans who will be able to appreciate the echoes between text and score.
**** Four stars
Reviewed by: Chris Abbott
