The Royal Shakespeare Company (RSC) has done countless productions of this haunting tale of grief and ghosts, revenge and retribution. And each time, the company tries to do something a little different, from a street-inspired David Tennant production back in 2008 to this sea-ravaged 2025 iteration from director Rupert Goold.
Luke Thallon is astonishingly good in the all-important titular role. This is Thallon’s first professional Hamlet and he delivers a captivating and energetic performance. You can absolutely feel his power and his passion from the very moment he steps on stage, finding an impressive balance between the character’s intellect and emotion. His soliloquies are particularly compelling, drawing the audience into Hamlet’s inner struggle with a sense of immediacy and vulnerability.
Equally impressive is Jared Harris as Claudius, portraying the scheming king with a quiet menace that makes his villainy seem all the more sinister. Harris is an old hand at Shakespeare and unpacks layers of complexity in the role, making Claudius not just a ruthless usurper but a man grappling with his own guilt. His scenes with Thallon crackle with tension, particularly in their gripping confrontations.
Anton Lesser is another old hand at the Bard and delivers his lines with a chilling precision. We know that grief can play tricks on the mind and even conjure up the ghosts of loved ones past. But when Hamlet’s dead father appears to him one night, we see that the Ghost has never been quite so real! Taking the dual roles of Ghost and Player King, Lesser is just mesmerising to watch.
The supporting cast is strong throughout, although they do at times feel a little underdeveloped in comparison to the leads. And a few curious directorial choices, such as the ‘fake’ heckling from the audience, the flickering digital countdown and the odd throwaway line that would be unrecognisable to the Bard, sometimes fall a little flat and certainly don’t add any new insights.
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Shakespeare is, of course, all about the verse. My only real criticism here is that many of the lines simply get lost at sea. Greater precision and projection would enhance the audience’s understanding and involvement in the text. As Hamlet himself says “The play’s the thing”. A deep fluency with the Shakespearean language is vital to make these well-known phrases sound spontaneous and meaningful; without it, they’re just trite little lines on a poster.
The real star of the show in this production is Rupert Goold’s startling vision brought to vivid life by Es Devlin’s amazing ship-board set. With a huge deck that tilts and roils backed by superb video projections, designed by Akhila Krishnan, this really is a staging marvel. I am not entirely convinced that it adds anything to the story, indeed it can be a distraction, but it definitely adds layers of tension and visual interest. Jack Knowles’ evocative lighting design is also an important element in building the atmosphere.
Overall, this Hamlet is an engrossing and thought-provoking production with exceptional performances from Thallon, Harris and Lesser. It really is a ‘must-see’ production that will leave you with much to debate long after its dramatic finale.
Hamlet by William Shakespeare
Royal Shakespeare Theatre, Stratford-upon-Avon
Director: Rupert Goold
Set Designer: Es Devlin
Lighting Designer: Jack Knowles
Costume Designer: Evie Gurney
Composer and Sound Designer: Adam Cork
Video Designer: Akhila Krishnan
Principal cast: Luke Thallon, Jared Harris, Anton Lesser, Nancy Carroll, Elliot Levey, Kel Matsena, Lewis Shepherd and Nia Towle
The Royal Shakespeare Company’s Hamlet will be performed until 29 March 2025.
