Hamlet, Royal Shakespeare Company Review
Luke Thallon in Hamlet. Photo by Marc Brenner
Written by Roni for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
If you like your Shakespeare with a modern flair, then there is no one finer to do it than the RSC. As Hamlet runs alongside Edward II to conclude Daniel Evans and Tamara Harvey’s first full season as Co-Artistic Directors, it’s not difficult to see why audiences flock to catch their twisty, modern interpretations of centuries old texts. This latest instalment, however, may just blow the others out of the water…
Hamlet is of course Shakespeare’s classic tale of grief, ghosts and the quest for vengeance. Understandably distressed by the death of his father, as well as his Uncle Claudius’s ascension to the throne and subsequent marriage to the widowed Queen, Hamlet’s melancholy turns to rage when a ghostly apparition of his father informs him that he was in fact murdered by Claudius. Vowing to avenge his father, Hamlet feigns madness and uses the tools at his disposal to trick Claudius into confirming his suspicions, before enacting his violent revenge – with disastrous consequences…
Director Rupert Goold and set designer Es Devlin have created the most phenomenal masterpiece of a setting for this uniquely reimagined adaptation of the original text – as Goold’s version is set at sea, on a ship named Elsinore in April 1912, which doubles as in infamous Titanic (though this is not abundantly clear to those not in the know). The RST stage is transformed into the deck of the ship, which tilts and teeters threateningly along with the plot and casts asunder all who sail in her. The matching ceiling adornment manages to bring a sense of claustrophobia to the open waves, intensifying the action and heightening emotions. The change of setting is an interesting choice; on one hand, it opens up new interpretations of the plot, such as the implication that the Queen had a hand in Ophelia’s drowning overboard. It does however make for some redundancies, such as the role of ‘gravedigger’ with no grave to dig. A bold choice, but an imaginative and effective one.
The cast is headed up by RSC newbie Luke Thallon in the titular role, and frankly, the part was written for him. He brings a slightly manic, dark wit to Hamlet that gives gravity to the madness he portrays, whilst simultaneously providing some much needed moments of humour to bring in the audience. His is a contemporary take: delivering the lines in a modern prose and cadence that still emphasises the original language and meaning. There is a depth to Thallon’s Hamlet that goes beyond the outward angst and verges on menace in every sense of the word. He has cemented his own interpretations of the text and run with them, giving a phenomenal stand out performance that deserves accolade. Special mention should also go to Nia Towle as the prepossessing Ophelia, who plays both grief and grace exquisitely, as well as Elliot Levey as her father Polonius, who has mastered the art of comedic timing and physicality faultlessly.
In short, this is an inspired overhaul of a well known classic, and that inspiration pays off. Whilst a little more clarity for the audience’s benefit could be useful, just the watery setting alone breathes a new life into the plot, conjuring alternate meaning in numerous ways. This is a breathtaking production propped up by its clever elements and alluring star, and seems a fitting end to a spectacular season.
At the Royal Shakespeare Theatre until 29 March 2025.
★ ★ ★ ★
