Review: Hamlet (Lyttlelton Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

The play’s the thing when it comes to Hamlet recently, as no less than three notable but very different takes on the Shakespeare classic have been seen in just the last two months, including Chichester Festival Theatre’s take on it, and the UK premiere of Fat Ham at the RSC. Never one to be deterred by what others are doing, National Theatre now brings us a new take on the tragedy. No stranger to hosting their own productions of Hamlet, with the play being steeped in the history of this iconic theatre, would their latest offering be able to do enough to step out of the shadows and be crowned King of the recent productions?

Centred around young Prince Hamlet, trapped between duty and doubt and surrounded by power and privilege, director Robert Hastie attempts to breathe new life into his production of Hamlet in a genre-shifting production that proves sharp, stylish and darkly funny. Opening in pure horror territory with a couple of well-executed jump scares thrown in, a bit of light gradually shines through, allowing for the comedy aspects to amplify, while always keeping one foot based in the darkness of the tale.

Hastie’s approach creates a rather distinct Hamlet - one that is notably different to the countless other productions that have gone before in some ways, while still feeling comfortably familiar. Leaning more into the comedy as opposed to the tragedy, apart from a couple of muddled moments, Hastie tends to strike the balance perfectly. The National Theatre’s Lyttlelton stage is used to great effect, with each larger-than-life characterisation of the main characters allowing for more comedy than you would perhaps expect elsewhere. The choice to have the iconic soliloquies addressed in close proximity to the audience, with the character practically eyeballing the front row, heightens the intimacy, while a more comedic choice involving the audience during the play sequence provided me with the biggest laugh on the night.

Ben Stones’ elaborate set design gradually comes into view after an initial blackout, revealing an exquisitely designed stage resembling a huge reception room. The transformation as the play-within-a-play takes place is similarly inspired, with a great way of inserting a secondary stage (itself featuring design not too dissimilar from a Jamie Lloyd production) and the cast becoming the audience themselves. Jessica Hung Han Yun’s lighting design is similarly striking - unconventional in places, notably the opening moments, but gloriously achieved. Pairs with Alexandra Faye Braithwaite’s sound design, it leads to a suitably eerie and ominous vibe that creates a truly atmospheric production.

After wowing audiences in The Father And The Assassin, Hiran Abeysekera returns to National Theatre, leading the production as Hamlet. His take on the iconic character is riveting to watch. Cocky and cock-sure, there is an air of arrogance and entitlement to his character, with a cheeky and carefree side to him, all with the weight of the death of his father. You may not have expected to see Hamlet wearing a Blockbuster video t-shirt, but that is where we find ourselves this time around. It is a confident portrayal that beautifully exhibits Abeysekera’s immeasurable skills as an actor. His performance isn’t so much watchable as it is completely captivating - he has the kind of presence on stage most could only dream about, with his delivery of lines, mannerisms, and body language all lending themselves to a phenomenal performance.

Hari Mackinnon and Joe Bolland are a highlight as double act Rosencrantz and Guildenstern, bringing a touch of camp and light-hearted comedy to their scenes with Hamlet early on, with Alistair Petrie a commanding and dangerous Claudius, and Ayesha Dharker giving an expert take on a sorrowful Gertrude. The standout performance in this production is Francesca Mills for her scene-stealing turn as Ophelia. Bringing an abundance of hilarity and tragedy with her, whenever she is on stage, the play is infinitely better. Beautifully displaying her remarkable talents, her Ophelia is one for the ages and helps this occasionally muddled Hamlet to be at its best.

It is a bold and contemporary new approach to Hamlet, and one that is sure to divide opinion, as the very best theatre rightly should. Though the wildly differing tones between comedy and the darker elements to Hamlet don’t always segue together as seamlessly as you would like, there is an admirable quality to Robert Hastie’s direction, that proves to be incredible when it is at its best. There is a lot to love about this production of Hamlet, namely the two aforementioned standout performances. The result is a play that breathes new life into a classic in an overall strong production. There really is nothing rotten about Hastie’s take on the story; therefore, my recommendation is to get thee to the National Theatre.

Hamlet plays at the Lyttlelton Theatre until 22nd November. Tickets from https://www.nationaltheatre.org.uk/productions/hamlet/

Photos by Sam Taylor