HAM at Soho Theatre (London) Review
Ell Potter (Gertrude) and Mary Higgins (Hamlet). Photo: Jonny Ruff.
To die, To eat? No more…
Hamlet goes vegan, to avenge a slaughtered pig that visits him as a ghost. In this version he’s called HAM. We go through his story and conversations with Gertrude (his mother) as he learns that shocking facts or video footage alone are not enough to change anyone’s mind.
Mary Higgins’ and Ell Porter’s performances are huge, raw. Their innate chemistry and stagecraft shone through every moment. They tell us early on that no one wants another Hamlet but I’d argue we need this one.
This version of Hamlet we’re seeing is interwoven between our two performers talking about their process making it and the message behind it. They learn, as Ham does, that maybe theatre is the answer. The internal argument of the piece between Ham’s new found belief structure and Gerturde’s defiance at changing is fuelled by our performers’ real-life opinions and conflict on the subject, with one being a vegan and one who isn't. These layers of theatricality (The Fringe show around a Fringe show, with another fringe show within that one.) never let us forget where we are or that all of this is really about us.
The metaphor is incredibly effective because it's funny, still dramatic and most importantly comprehensible. Hamlet is already infamous across popular culture for being perceived as a ‘whiny teenager with no real life experience’ a perception that many in our society actually have of those promoting a vegan diet. Having Hamlet's
original laments channelled through this lens is as funny as it is actually effective. This to me, is a gorgeous example of political (or issue) theatre - story and character interwoven with the point it's advocating for.
The absolute jewel in the crown of this production are the edits to the original Shakespearean texts. The whole play moves along at an intoxicating pace that once I finally caught the layered intelligent reference (or just great joke) we’re already on to the next. It had my head spinning and reeling with glee. Pure genius. All the headline
moments from the original play that have been changed are as compelling as they are impressive, with Hamlet’s mad interruption of Ophelia’s funeral and Gerturde’s response to Ham’s play being personal highlights.
Rūta Irbīte’s costume design stinks to heaven of creativity, a pleasing throughline throughout with an altered recognisability. The sound (Tom Foskett-Barnes) and video design (danvisuals) are punchy and effective, keeping a lot of video in the vertical format to again, keep it oddly familiar to the audience. Abbi Greenland’s movement
similarly included recognisable moves yet were changed, the production as a whole was incredibly well produced and united under Ursula Martinez’s direction towards the same beautiful outcome.
The piece ends with an all important final reflection from our performers and then Ham and Gertrude's predictions of the future: Gertrude painting a beautiful picture of retirement, Ham describing the climate apocalypse. I wouldn’t want to reveal too much more, as the sense of discovery I felt throughout the piece was a huge joy. So I simply urge you to see it and who knows, it might change your mind. Or not. And that’s the real tragedy.
HAM plays at Soho Theatre (London) until Saturday 31st October.
★★★★★
Written by Brad for Theatre and Tonic, September 2026.