Review: Space Hamlet (The Cockpit)
Review by Cat Wiltshire
⭐️⭐️⭐️⭐️
Shakespeare’s Hamlet has been reimagined countless times, but transporting the Prince of Denmark into space and surrounding him with Viking warriors, murderous puppets, and a glam rock soundtrack is certainly one of the more surprising approaches. Space Hamlet takes one of literature's greatest tragedies and transforms it into a wonderfully ridiculous sci-fi musical comedy. With intergalactic battles, eccentric characters, and plenty of absurd moments, this production certainly doesn't take itself too seriously. But beneath the silliness, can Shakespeare's timeless tale of revenge, betrayal, and grief survive its journey into space?
Written by Dan Sturman and R.C. Staab (after the Bard), and set in the distant future, the story follows Prince Hamlet, whose father, King Ham, is murdered by his scheming uncle, Claudius. With Claudius now occupying both the throne and his brother's place beside Queen Gertrude, Hamlet sets out on his quest for vengeance. The familiar Shakespearean narrative seems mostly intact, with hints of Macbeth and other Shakespearean plays thrown in, but the kingdom of Denmark has become the Denmark System, populated by Space Vikings, alien creatures, and some weird characters.
Sturman and Staab’s writing is undoubtedly one of the production's greatest strengths. Rather than simply using Shakespeare's original dialogue in a futuristic setting, they take considerable liberties with the material, injecting contemporary humour, musical theatre references, and plenty of madcap moments, with some inevitable Star Trek and Star Wars references too. Polonius becomes a puppet, Guildenstern is a robot, and the tragedy’s familiar characters are left navigating a bizarre universe at times; it moves so fast it's definitely in warp drive! Despite these changes, the central themes remain, even if they are a little hidden between clever Shakespearean references and outright silly jokes (although not every gag is as funny as they probably hoped).
The original music score (composed by Sturman, with lyrics by him and Staab) is heavily influenced by the glam rock era, giving the production plenty of energy and personality, and complementing the show's eccentricity. It's clear the songs aren't just there for comic effect; they genuinely drive the narrative forward, giving us glimpses into the characters' thoughts and motivations. Some songs are more memorable than others, but they nearly always land well with the audience, even when the comedy takes away from the tragedy unfolding before their eyes.
Under April Nash’s direction, Space Hamlet embraces its own crazy chaos. Rather than attempting to disguise the strangeness of the concept, it embraces it and makes it central to the show's identity. This creates a world where space battles, Viking warriors, and singing puppets coexist with Shakespearean tragedy. The staging has a strong sense of playfulness, with the director making imaginative use of the ensemble's many talents. The integration of puppetry is particularly effective, with the puppets becoming characters in their own right rather than decorative additions. They are a delightful highlight of the show, and Nash’s work alongside Lottie Johnson on puppetry direction helps give the unusual creations personality and purpose.
Leading the eight-strong ensemble, Nic Gordon as Hamlet takes on the considerable challenge of portraying one of Shakespeare's most recognisable characters in a setting that could not be further removed from the original. His Hamlet must balance the emotional turmoil of a grieving prince within a musical that is totally absurd. He makes an engaging central figure, navigating the character's frustration, confusion, and desire for revenge whilst still embracing the musical's downright silly moments. The role is demanding when the story moves so quickly between comedy, music, and drama, but his ‘Emo’ performance provides a recognisable emotional centre for the chaos.
Lucas Fox makes a very entertaining Claudius, embracing the villainous qualities of Hamlet's murderous uncle with theatrical presence, even if it sometimes comes across as a little pantomime villain-like. His character provides a useful contrast to the increasingly troubled prince, whilst Lauren Bryant’s Gertrude adds another dimension to this dysfunctional royal family. The relationship among these three characters is essential to the original tragedy, and even though this production often prioritises comedy over psychological complexity, the underlying tensions remain central to the story.
What makes the cast especially impressive is the sheer number of responsibilities they juggle. These are not simply actors delivering dialogue and musical numbers; they are actor-musicians and puppeteers, often switching between characters and helping bring the strange collection of creatures to life. The demands of maintaining character, comic timing, and musical precision whilst operating puppets should not be underestimated. Although the production's busy nature sometimes makes it difficult for individual performances to develop as fully as they might, the ensemble’s versatility and commitment make it an even better watch than if a larger cast fulfilled each role.
The production's visual elements deserve considerable praise; Sturman's set design creates a surprisingly convincing sci-fi environment for a relatively intimate theatre, while the costumes by Jo Myers and Dan Smith contribute to the show's colourful, deliberately exaggerated aesthetic. Matt Cross’s lighting and sound design help establish the intergalactic atmosphere, from stars to laser beams and beyond, and Alex Green's fight direction brings energy to the sword-and-axe battles, making them both realistic and comic.
At times, the sheer number of elements competing for attention threatens to overwhelm the storytelling, and a little more restraint might have let some dramatic scenes land with greater impact. Saying that, Nash deserves a lot of credit for bringing so many theatrical elements together into a cohesive and mostly entertaining production that certainly makes Shakespeare more accessible. Audience members familiar with Hamlet will enjoy spotting the references and recognising familiar scenes, whilst those unfamiliar with the original play can enjoy the performance without needing an extensive knowledge of Hamlet.
In the end, though, Space Hamlet is a glorious, strange, ambitious, and entertaining space journey into musical theatre, and although it does not always strike the perfect balance between Shakespearean tragedy and intergalactic comedy, the inventive writing, talented ensemble, and imaginative direction make it a delightful watch. This may not be Hamlet as the Bard intended, but it proves there is still plenty of life left in his work, even in a galaxy far, far away.
Space Hamlet plays at The Cockpit until 31st October. Tickets from https://tickets.thecockpit.org.uk/sales/shows/space-hamlet