Review: National Theatre Live: Hamlet

Review by Sam Waite

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A distinct feeling of Deja vu falls over me when opening TikTok as of late – as prevalent now as when the production ran in the Lyttelton Theatre a few months ago are advertisements for National Theatre Live’s newest cinema release, the Hiran Abeysekera starring Hamlet. Despite the National Theatre’s ever-expanding collection, and the proven appetite among audiences to see quality stage work captured for the screen, there is a unique challenge in capturing live theatre on film, and with Hamlet I couldn’t help but wonder, would this newest stage run of Shakespeare’s most widely produced tragedy hit the same beats on film that won it such acclaim on stage?

Hamlet begins shortly after the passing of the titular Prince of Denmark’s father, upon which his Uncle Claudius wasted seemingly no time in taking his place as successor, or as the new husband of his late brother’s wife. Prince Hamlet’s ongoing grief is a cause for concern among those close to him, and it does his mental state no favours when his dear friend Horatio informs him that no less than three people have seen the late King’s spirit haunting the nearby grounds. Setting out to see the apparition for himself, Hamlet becomes determined that his father’s demise came from foul play, and plots to reveal his uncle’s treachery before the court.

It takes only the social media posts to be won over by Abeysekera’s charming Hamlet, but he is able to maintain his captivating turn for the full three-hour production. Early on, while celebrations of new nuptials are going on around him, his Prince of Denmark sits already brimming with tears and practically vibrating with tension. These extremities, these emotional high points so barely contained, quickly become a staple of his performance – many around the young Prince wonder if he may simply be going mad, and Abeysekera plays these shifts from charm to chastisement, meticulous planning to reckless abandon, so sharply and with such instantaneous change that it's easy to understand their struggles to keep up with his behaviour.

The wider ensemble all do terrific work, with Ayesha Dharker’s Queen Gertrude a force to behold in her devotions, and Tessa Wong bringing a genial, eminently warm quality to lifelong friend Horatio. A particular highlight in her own descent into madness is Francesca Mills’ Ophelia, whose own erratic turn contrasts nicely with earlier scenes in which she carries the part with a flirtatious, naturally winning energy. The camera, pardon the cliché, loves both Mills and Abeysekera, each of their performances cracking with wit, and the famed “get thee to a nunnery” scene between the two a breathtaking moment between a pair of masterful, excellently chosen actors.

The National’s Deputy Artistic Director, Robert Hastie has proven himself dependably diverse in recent years. Having brought both Standing at the Sky’s Edge and Operation Mincemeat to the West End, and the latter to Broadway, a high-profile Shakespeare production may not seem the most natural fit, but this proves to be far from the truth. Hastie makes fine use of Ben Stones’ attractive, palatial sets, which has allowed for ample opportunities to frame his cast on screen without the need for awkward close-ups or endless back-and-forth to show entire conversations playing out. There's an organic quality to how Hastie guides his actors through his Hamlet, which adds nicely to the moments where the titular character must fall out of step with his surroundings, something Hastie’s work allows to feel all the more impactful.

Helping to strengthen the performances are Kate Waters and Ira Mandela Siobhan, as fight and movement directors respectively. Siobhan provides some truly dynamic moments from both Hamlet and Ophelia as their psychological torments become too much for them to handle. Meanwhile, Waters is invaluable in creating the climactic fending match between Hamlet and Laertes, brother of Opehlia, which she ensures carries all the thrill and significance of this most famous of tragedies. Elsewhere the world of Hamlet is broadly drawn by Ben Stones’ costumes, which allow for a more conventional look from everyone else and a bold look for Hamlet himself, prevalent in the show's marketing thanks to its modern flair and over-the-top neck ruffle.

Between the well-framed scenes and the grandeur and scale of Stones’ sets, this Hanlet finds its transition to the screen smoother by and eminently cinematic quality. The epic nature of the lead performance gels nicely with the scale of the sets themselves, suggesting a wider, even more vibrant world just beyond view which the filming further hints towards. With Hastie’s carefully placed cast inhabiting these sets, their grandeur never leaves them feeling barren or underused, and shots got this cinema release never feel overcrowded or as if we're seeing only a fraction of a fuller scene.

Not only a successful revival of Shakespeare’s tragedy, but a successful transition from the Lyttelton stage to the cinema screen, National Theatre Live: Hamlet brilliantly captures all the gripping drama and witty comedy of the production. Its intimidating length – there is an interval included, for those concerned! – is still intact, and though this could be seen as a dealbreaker for some, this recording never feels like it's outstaying its welcome.

National Theatre Live: Hamlet (2026) opens in cinemas on January 22nd 2026

To find screenings near you visit https://hamlet.ntlive.com

For more information on the stage production visit https://www.nationaltheatre.org.uk/productions/hamlet/

Photos by Sam Taylor