Filmed on stage at the National Theatre last year and now part of NT Live, Robert Hastie‘s production of Hamlet has Hiran Abeysekera taking on the mantle of the ‘gloomy Dane”. It’s a wildly physical, rattle-fast, often amusing performance.
Tessa Wang tackles the role of Horatio, questioning the Ghost in a torch-lit opening scene and offering unflinching support throughout. With Tom Glenister and Francesca Mills shining bright as Ophelia (the latter offering a compelling and perceptive portrayal of the character), the young people of Elsinore are the clear focus.
Claudius, a tricky role to pitch effectively, is in good hands with Alistair Petrie, the affable fellow who couldn’t possibly be under suspicion. Gertrude, the ‘frail’ widow and mother rushing to wed, is portrayed by Ayesha Dharker with stark power.
This production sets Hamlet’s first soliloquy in a muted spotlight, aside from the bright surroundings. This Hamlet feels very modern and casual, losing any stuffy trappings of traditional adaptations.
As Polonius, Geoffrey Streatfeild offers more fire than we previously associated with the old blunderer. A fascinating take, where his children both rag and respect him. He also shows a concern for Hamlet’s ‘madness’ and his end is deeply realistic.
Abeysekera’s Hamlet is much more clown than strategist, throwing away “To be or not to be” without any sense of weight, but teasing out light moments in the scenes with Ophelia, and with Rosencrantz and Guildenstern.
Set against Ben Stones’s huge mural of scenes, faces, and nods to previous productions, this works well as a claustrophobic piece, and the filming captures each expression and action.
Siobhan Redmond offers an affecting performance as First Player, both alone and in tandem with Ryan Ellsworth’s Player King. Set against Hamlet’s mania, it does offer a new angle on his need to take revenge.
This is a Hamlet of modern psychology. There are no tights or arras here. Props are utilised sparsely, with some actions given to mime. Plot points are subtly moved, with some additional scenes to bolster relationships.
No one is what they seem, but villains are not caricatures. They are complex. But in the downfall of Claudius, everyone wins, whatever the price.
Hamlet is one of the most performed Shakespeare plays, with directors taking inspiration from the text to chop and change, reinterpret, and reinvent.
Hastie has developed a Hamlet that has contemporary appeal without losing the core meaning of the play. It makes for an engrossing watch, especially in this filmed capture, which continues to meet NT Live‘s mission of “the best seat in the house”.
****
Hamlet is in cinemas nationwide from 22 January – find your nearest cinema at https://hamlet.ntlive.com/
Photo credit: Sam Taylor