Hamlet Hail to the Thief review

Reviews

8 May

Hamlet Hail to the Thief production image. Photo by Manuel Harlan

Written by Joseph for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

This show is an intriguing fusion of one of Shakespeare’s most popular tragedies and Radiohead’s album Hail to the Thief. The music, rearranged by Thom Yorke himself, has been seamlessly woven into the production to create a unique hybrid of play and concert. Premiering in Manchester, the show is set to transfer to the Royal Shakespeare Company in Stratford-upon-Avon following its run. Sat in stadium-style seating for the production, this worked well alongside the metal rig which extended the industrial nature of the show’s design.

As a show, Hamlet Hail to the Thief is incredibly powerful and hits like a train. At 1 hour 50 without an interval, I was apprehensive, but in hindsight, it makes sense Once you’re on that journey, you don’t want to get off, any interval would ruin the momentum they had taken so much to create.

It’s impossible not to talk about Gareth Fry’s sound design in this show. Technically performed to an incredible standard, especially vocally. I must confess that I hadn’t heard any Radiohead before that evening, other than the one everyone knows, so I wasn’t sure what to expect, it worked marvellously, as a soundtrack rather than it being wedged in it was seamlessly sewn throughout the fabric of the show, so that they become one entity. Powerful and poignant, these two cultural behemoths combined so beautifully.

The projection used was superb, digging further into the horror aspects of the show. Effective use of strobe without overdoing it. Leaning into the concert vibe.

The movement was superb, the influence from Steven Hoggett, co-founder of Frantic Assembly, was clear. I also noticed similarities with The Ocean at the End of the Lane by the National Theatre (other than having the same lead actor) before I saw that he was involved in that show, also. The movement was so evocative, with such purpose and direction. Each piece was what it needed to be, whether it be slow and fluid or chaotic and frenetic, it was always precise. Showcasing the vision and ability well. Hamlet (Samuel Blenkin) himself has a tall order, but excels. Producing him with a beautiful melancholy that teeters on the edge of madness, always with one toe in the real world so that we can understand his pain.

Claudius (Paul Hilton) was ruthless and unwavering. Always coming across as untrustworthy, even when repenting, it was selfish. A glorious performance. Gertrude (Claudia Harrison) came across as being swept away by the situation by Claudius and not really understanding what she had done. A very tragic and affecting portrayal.

Poor Ophelia (Ami Tredrea) didn’t have too much time due to the adaptation, but her descent into madness was heartbreaking, capturing the grief not only of her losing Hamlet, but also of losing someone who could bring him back down to earth if he let her.

Laertes (Brandon Grace) was particularly affecting. His rage felt honest and sepulchral. Not someone playing at anger, but genuinely feels it, which is a challenge in such a space where it’s not as intimate.

All performers do share one trait: they all managed to deliver the show in such a way that most, if not all, lines were understood. Their line readings were decisive and well-delivered, making the whole show much more accessible to new audiences. To get the show to that length, a lot was missed, however, it helped streamline the show, and it was much more concise and, in some ways, made it better.

I think that it won’t be for everyone, if you prefer your Shakespeare more traditional, but if you’re willing to try it out, this version certainly packs a punch and hurtles you along for 1 hour 50 and was totally deserving of the standing ovation it received.

“Something is rotten in the state of Denmark”