Review: HAMLET, National Theatre
Photo credit: Sam Taylor
London’s Southbank has become something of a cultural hotbed in recent years, but most notably provides a lasting monument to the artistry of William Shakespeare. The Globe and Rose Theatre stand proudly as landmarks to the Bard’s genius. A stone’s throw away is the National Theatre, as ever keeping a watchful eye on both the classic and modern. This new production of Hamlet at the Lyttleton Theatre doesn’t disappoint with a sparkling interpretation of a classic tale. The taglines are familiar and reassuring; something is rotten in Denmark as revenge and betrayal gently rub shoulders.
It's one of the most quotable Shakespeare plays with lines that linger deep in the memory. However, a brief summary might be useful for the uninitiated. The ghost of the King of Denmark has been seen in the grounds of Elsinore Castle. Horatio (Tessa Wong) later witnesses the apparition and reports the incident to Prince Hamlet (Hiran Abeysekera). The Prince is still mourning the death of his father and wants to see the ghost for himself.
Hamlet's Uncle Claudius (Alistair Petrie) has married his widowed mother Gertrude (Ayesha Dharker) and become the new King. The Prince later receives a visitation from the ghost of his father. Hamlet is set a mission that places Claudius firmly in his sights. Meanwhile, royal attendant Polonius (Geoffrey Streatfeild) bids farewell to his son Laertes (Tom Glenister) as he departs for France. His daughter Ophelia (Francesca Mills) is dangerously smitten by Hamlet much to the alarm of Laertes.
The narrative moves at a brisk pace and benefits from an excellent cast who hit their marks without fault or deviation. There is a modern urban feel to the production. With not a doublet and hose in sight, combats, jeans and t-shirts are the way this crew rumbles. Ben Stones' simple but effective stage design enables a smooth transition between scenes and shows a refreshing lack of fussiness. The lighting is superbly controlled as the intro uses torches to shed light onto a darkened stage. Robert Hastie’s crisp direction uses every inch of the stage and creates real intimacy between the characters, no mean feat in such a large auditorium. Running at a cramp inducing three hours, it is something of an endurance test. The plush, roomy seats at the National Theatre are always welcome, as was the 20 minute interval. But nothing could mask rows of fidgeting patrons trying to get comfortable. Nevertheless, this superlative production more than compensates for any discomfort.
**** Four stars
Reviewed by: Brian Penn
Hamlet plays at London’s National Theatre until 22 November, with further info here.
