The National Theatre’s new production of Hamlet — directed by Robert Hastie — is a deeply contemporary adaptation which leans away from the macabre, using subtle changes in order to toy with themes of innocence in a way that no other interpretation has.
Hiran Abeysekera succeeds in bringing a freshness to the titular role. Hamlet starts as a graduate grieving for his father and evolves into a child in the throes of manic depression. Abeysekera evokes sympathy without neglecting the narcissism of Hamlet’s character — a careful balancing act performed with the utmost emotion. As a result, however, Hastie’s production lacks the darkness channelled in other adaptations such as Robert Icke’s 2018 production. Hastie places the characters as victims to the world around them, including Claudius played with gorgeous depth by Alistair Petrie. Claudius is fleshed out as a victim of his own ambition, and at times it is hard to believe that he would have murdered King Hamlet. Similarly, Ayesha Dharker brings a calmness to Gertrude which — when broken — is all the more tragic.
However, the interpretation of Ophelia falls somewhat flat. The lack of chemistry between Hamlet and Ophelia means that although her naivety is further explored, some of the most captivating elements of her and Hamlet’s characters are lost. The choice not to put her in a wedding dress at any point is also interesting, showing that in this production Ophelia appears like another one of Hamlet’s friends rather than a love interest. Her lack of autonomy and later descent into madness feels juvenile, and — although exceptionally acted by Francesca Mills — lacks the weight of other productions.
Jessica Hung Han Yun’s lighting choices — such as the use of torches and red backlighting — are expert, though they do not always match the tone of the soliloquies. Ben Stones’ costumes are beautiful, and accompany the characters’ motives whilst grounding the production in its contemporary setting. The set of a palace room with the walls painted with scenes of war acts as a reminder of the glory being lost as the court descends into madness.
Although not my favourite production of Hamlet, The National Theatre’s adaptation is a fresh and youthful take on the source material, exploring the boundaries of sympathy we can feel for its characters.
Photo by Sam Taylor, courtesy of the National Theatre.