Review: Hamlet: Rotten States at The Hope Theatre

It’s Hamlet, but not quite as we know it. For one thing, Hamlet’s not actually in it. But Brian Blessed is. Sort of.

With Hamlet: Rotten States, 6FootStories return to the three-actor format of their acclaimed Macbeth: A Tale of Sound & Fury, which was first performed at the Hope a few years ago. In this case, the three actors (Will Bridges, Amy Fleming and Jake Hassam) are, in fact, actors – specifically, the players who visit court and are promptly recruited by Hamlet to recreate the murder of his father and in doing so catch the conscience of the king. But things are about to get more complicated for our players, who are visited by the ghost of Hamlet’s father and charged with avenging his death. And so Shakespeare’s play within a play becomes a play within a play within a play, as the three set out to answer the ghost’s challenge and reawaken Hamlet’s purpose in the only way they can think of.

Photo credit: Matthew Koltenborn

This naturally involves a bit of playing around with the original text, but the result is still a coherent, if incredibly brief, retelling of Hamlet’s story. The three performers are clearly enjoying themselves as they whisk us through the key events, dividing the principal roles and speeches between them, and filling in the inevitable gaps with puppetry and props. There are song and dance routines, overblown death scenes, and sword fighting without actual swords; Gertrude appears only as a floating head, and the murder of Gonzago is portrayed using toby jugs. Oh, and the dead king looks a lot like a fiercely grinning Brian Blessed.

Needless to say, there’s a distinctly mischievous tone to the production that die-hard fans of both Shakespeare and his tragic masterpiece may find hard to stomach. But it’s important to note that there’s no lack of respect here either; while the text may be somewhat rearranged to suit the show’s purpose, we still get the core plot in the right order, and speeches delivered with appropriate passion and reverence where required. The fact that the performers then immediately break character to congratulate themselves on the quality and content of said delivery is great comedy, but it also helps the audience appreciate afresh the dramatic power of Shakespeare’s language.

Photo credit: Matthew Koltenborn

Reducing four hours of action into one necessarily calls for high energy and a pretty brisk pace, and a pumping electronic soundtrack and flashing disco lights – all managed on stage by the actors themselves – complement this well. Unlike the original, in which every action is mulled over a thousand times, this is very much “blink and you’ll miss it” Hamlet, which keeps the audience focused throughout. The production walks the line well between familiarity and originality; those who know the play well can sit back and laugh at the numerous inside jokes, while for newcomers there’s enough here for them to follow the story, and perhaps spark an interest in seeing a more traditional retelling. Cheeky but respectful fun, this entertaining show guarantees a good time for all.

Hamlet: Rotten States is at The Hope Theatre until 1st February.

Review: Hamlet Part II at the Hen and Chickens

If you’ve ever wondered what happened next after the tragic conclusion of Shakespeare’s Hamlet (and let’s face it, who hasn’t?) an answer can be found in the snappily titled Hamlet Part II from the Theatre of Heaven & Hell, returning to the Hen and Chickens after an acclaimed run at this year’s Camden Fringe. Whether it’s the answer Shakespeare had in mind I’m not totally sure, but one thing is certain: it’s a lot of fun.

Fun? I hear you ask, and not without good reason. After all, most of us know how Hamlet (Part I) ends – bodies all over the stage and Denmark’s entire royal family wiped out in one bloody encounter. Making a comedy out of that scenario would take some doing, you could suggest. And yet when you stop and think about it, there actually is something slightly comical about a play in which every character gets wiped out; it’s so extreme that it almost crosses the line from tragedy to comedy.


Writer Perry Pontac seizes upon this blurring of genres and runs with it, picking up not only on the excessive quantity of corpses but also the many other slightly ridiculous elements of Shakespeare that we all put up with because – well, it’s Shakespeare. The flowery language; the drawn-out death bed speeches; the Fool who talks complete nonsense; the soliloquies that none of the other characters ever hear, even though they’re standing two feet away… all make an appearance. The story’s also packed with references to Shakespeare’s other plays – some subtle, some not so much; you don’t have to be a major literature buff to find the humour in this very accessible show.

Part of Pontac’s ‘Codpieces’ trilogy, the story sees Seltazar (Darren Ruston) return home to Denmark, met by court librarian Fornia (Elena Clements) who reluctantly unfolds the recent tragic events; her list of the dead is so extensive she has to check them all off on a clipboard. Together, with a bit of ‘help’ from a passing Fool (Nicholas Bright), the two attempt to figure out who’s left to take over the throne – but just as they hit upon a solution, the rightful king (Brian Eastty) appears… and it’s not who you might expect.

All four cast members give it their all, though it’s Darren Ruston and Elena Clements who take centre stage as Seltazar and Fornia; their evolving love-hate relationship really is a hilarious joy to watch from beginning to end. And director Michael Ward finds opportunities for humour even when nobody’s saying a word; the opening moments are particularly enjoyable, and so totally unexpected it’s almost impossible not to laugh.

A common complaint about Hamlet is that it’s too long; there’s a lot of talking and not a lot of doing, and – let’s be honest – it’s not exactly the cheeriest of tales. No such problems with the sequel; at just 45 minutes, any hanging around is very much part of the joke, and unlike its predecessor, Pontac’s parody is genuinely a laugh a minute, whether you’re a Shakespeare fan or not. Though I can’t promise nobody dies in this one – it is still Hamlet, after all.

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Review: Hamlet at the Barbican

They say good things come to those who wait. And we certainly waited. Over a year after managing by the skin of our teeth to grab some tickets for Benedict Cumberbatch’s Hamlet at the Barbican, the day finally arrived last Saturday. I’d been going out of my way not to read any reviews, but couldn’t avoid the headlines – unscrupulous newspapers, famous speeches being put in the wrong place, public appeals for audience members to behave – and after all the hype, I was interested to see if the actual production would live up to expectations. So did it? Mostly…

I might as well start with the obvious question – how good is Benedict Cumberbatch? And the answer is – not entirely surprisingly – very good. Unlike some previous incarnations of the character, you have the feeling his Hamlet is always more or less in control of events (although perhaps that’s just because we’re so used to seeing him outsmart everyone in Sherlock, and so naturally assume he knows what he’s doing). And in a play that’s notoriously short on good news, he breaks the tension with his ‘mad’ scenes, which see him playing at soldiers while his uncle, the king, prepares for the possibility of a real war with Norway. He certainly owns the stage any time he appears, and in a more intimate setting, I imagine his performance would have been pretty mesmerising.

Benedict Cumberbatch in Hamlet
Credit: Johan Persson

But the Barbican is not an intimate setting; it’s a huge space, and, particularly for those of us sitting further away, a little of this emotional connection gets lost. Not to mention that the entire cast are completely dwarfed by Es Devlin’s jaw-dropping set. Seriously, it’s been a week and I’m still coming to terms with the sheer scale and magnificence of it; it just goes on forever. I’m not complaining – it’s a visually gorgeous set – but it does distract a bit from the performances, because there’s just so much to look at on the enormous stage.

Hamlet at the Barbican
Credit: Johan Persson

Hamlet is, of course, not a one-man show – but if Cumberbatch is good, what about the rest of the cast? I enjoyed Leo Bill’s anxious nerd Horatio (although it wasn’t totally clear why he always had to be carrying his massive backpack around), and Jim Norton is an entertaining Polonius, whose tyranny towards his daughter seems born of genuine concern. Sian Brooke’s Ophelia really makes an impression in the second act, when she’s heartbreaking in her madness; her final exit, as she stumbles slowly off into the distance, is one of the most powerful scenes in the whole production. Ciarán Hinds, unfortunately, is a bit of a mumbler as Claudius; both he and Anastasia Hille, who plays Gertrude, are at times inaudible. True, we were sitting in the back row, but we still needed to know what was going on.

Hamlet at the Barbican
Credit: Johan Persson

The play itself is Shakespeare’s longest, and even with some scenes cut, the first act comes in at a bottom-numbing hour and fifty minutes, ending with a dramatic climax that may or may not have been designed to startle anyone in danger of nodding off. The second act, in contrast, is a whole hour shorter; then again, the interval does fall at the most appropriate point in the story, so maybe we have to blame Shakespeare for that one.

Anyone who knows me will realise this is an unusually critical review, from someone who’s usually irritatingly positive about everything. So just to be clear – I really did enjoy Hamlet, and had it not been such a big deal, I’d probably be raving about it right now. Lyndsey Turner’s production is massive and dazzling, and makes a long play which – let’s face it – involves a lot of talking and not a lot of doing, feel like a tense psychological thriller. The problem is that the bar was set so incredibly high that the play would have had to be perfect in every way to live up to everyone’s expectations, and it wasn’t – quite. So perhaps it didn’t blow me away, but I still loved it.

Hamlet at the Barbican
Credit: Johan Persson

And – bonus – there was not a mobile phone to be seen. Well done, Benedict.

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To film or not to film, shouldn’t even be a question

Oh, Benedict Cumberbatch. As if we didn’t love you enough already.

Exactly a year ago today, I’d just triumphantly completed my booking for Hamlet at the Barbican, after several hours monitoring multiple browsers and waiting impatiently to make my way up from 8,000th in the queue to number 1.

I won’t be seeing Hamlet until September, but a lucky few already have; the production finally opened for previews at the Barbican last week… and it’s already making headlines.

First, there were all the fans who flew in from across the world to catch a glimpse of their idol, whether they had tickets for the play or were just hoping to spot him outside the theatre.

Then there was the controversy caused by the Times, the Telegraph and the Daily Mail, who published reviews based on the first preview, rather than waiting until press night like everyone else. (If we can really use the word ‘review’ to describe Jan Moir’s gushing report, which included illicit and poor quality photos, and totally ignored the rest of the cast. Who knew Hamlet was a one-man show…?)

And now Benedict Cumberbatch himself has made a special stage door appearance to plead with fans not to record during the play. Which really should be common sense – but apparently isn’t.

Personally, I don’t understand why anyone would want to record a live performance. Doesn’t that sort of negate the whole ‘live’ part? If you’re watching it through your phone, then you’re not really watching it, and even if you view your video again later, it’s hardly the same thing. It’ll probably be pretty poor quality, and a bit wobbly, and the sound won’t be great, and you’ll realise, too late, that maybe you should have watched it live in the first place. I don’t know about anyone else, but when I see Hamlet next month, I want to remember watching and experiencing the play – I don’t want to remember filming it.

Then there’s the fact that it’s really distracting – for people sitting nearby, and, more importantly, for the actors. It always amazes me how many theatregoers don’t realise that when their phone lights up, they’re not the only person who can see the glow, especially in a dark theatre.

And finally, there’s the all-important question of respect. The actors on stage – any stage – have worked for months to prepare for this performance; it’s not like they’ve just rocked up on the day like we have. So don’t we owe it to them to sit quietly, pay attention and listen? And if not, there doesn’t seem much point in going to the theatre at all – we might as well just wait for the inevitable DVD version.

I don’t honestly know if this latest appeal is going to have any impact (neither Kevin Spacey nor James McAvoy seem to have had much luck getting people to put their phones away), and I’m willing to bet most of the fans who were at the stage door, and – ironically – recording, were more excited to have seen Benedict Cumberbatch than interested in what he was actually saying. But hopefully the fact that the video’s gone viral will at least get people to consider the issue, and think about why it’s so inconsiderate. We live in a generation that’s programmed to take photos first and look later – but there’s a time and a place for that, and the theatre is neither.

We’ve all waited a long time for this, so let’s not ruin the experience – for the actors, for the audience or for ourselves.

Hamlet at the Barbican