★★★
Recently, I watched the National Theatre Live’s Hamlet at my local cinema, and it changed my perspective of Hamlet as a character. The play, which is a classic tragedy, mixes modern costumes with Victorian era architecture, to create an interesting, comedic version of Hamlet.
First of all, the costumes, which are a mix of modern and upper-class. Hamlet is a perfect example of the relatable costumes, worn by Hiran Abeysekera, such as a “Blockbuster Video” sweatshirt and a “Tobacco and Boys” T-shirt. These costumes make the play feel more modern and comedic, in addition to Abeysekera’s performance, but more on that later. This is similar to Ophelia, played by Francesca Mills, who wears athleisure and a long T-shirt, when she goes mad. Whereas all the adults in the play wear more formal wear, suits and long dresses, showing the distance between them and Hamlet, Ophelia and Laertes, the perceived children in the play. Even Rosencrantz (Hari Mackinnon) and Guildenstern (Joe Bolland), friends of Hamlet, wear collared shirts and sweaters. And throughout the play, the adults think they are the ones that control and manipulate what happens in the palace, but in the end they are played by the children.
Abeysekera’s performance is what makes this a different play from other versions. He plays Hamlet as a sarcastic, sassy bisexual prince, sometimes reciting his lines with speed, and then slowing down, displaying how chaotic his mind is. The soliloquies allow him to connect to the audience, maintaining eye contact and sitting on the edge of the stage, especially in the start of the Act 3, where he talks to the audience with the curtain closed behind him. The comedic performance is different from other Hamlets in the past, memorably David Tennant and Andrew Scott’s, who portrayed Hamlet as being more of a tortured soul. Abeysekera’s Hamlet brings a comedic relief to the tragedy, adding a modern relatability to the character, and helping the audience to connect with him more. While this is not the first comedic version of Hamlet—Sean Holmes’s 2022 production at Shakespeare’s Globe was described as “audacious and flawed” in an article by The Guardian—this version finds a middle ground, still serious in nature, with comedic parts offering more emotions.
Francesca Mills portrays Ophelia as a more emotionally mature character than previous versions. With a range of emotions from sarcastic to affectionate, Mills’ Ophelia is a layered character, and as the play goes on, every scene shows a new side of her. At the start, Ophelia is sassy, teasing and rebellious, mimicking her father and pretending to listen to the men’s advice. But as the play goes on, Mill’s performance carries empty scenes, such as in Act 4 when she goes mad. Her manic acting, running around the stage, wearing angel wings and blowing raspberries, shows her childish nature, and the play’s emotional capacity is carried by Mills and Abeysekera, otherwise it is a normal, repetitive version of Hamlet.
And finally, the set design. Wide stage, tall ceilings, with walls covered in moulding and tapestry. The stage utilises secret doors, curtains and lowered platforms, which allows the scenes to flow, while still inside the same room, and the removable panels means props, such as tables can be used to create a more realistic set.
Overall, the production lifts the play, and can be clearly seen as individualistic, and in addition to the performances of Abeysekera and Mills, the play stands out as a new twist on the revitalised Hamlet, but lacks any other substance.
Words by Shivasri Kathiresan
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