HAMLET
The Attic Theatre, Stratford upon Avon, Saturday 4th April 2026
I’ve seen so many Hamlets, I could probably play the role. With each new production, you hope there is going to be something fresh brought to those famous, well-worn lines. This one, by Tread The Boards, dispenses with the gimmickry that can overshadow the play in other productions. Instead, on a mostly bare stage, the cast, in period dress, let the play speak for itself. Post-Hamlet-on-the-Titanic at the RSC, it’s a refreshing approach.
Against a roughly painted grey back wall (courtesy of Adam Clarke), with only a couple of benches, the tragedy unfolds. Of course, Kat Murray’s lighting design proves invaluable as, for example, when the Ghost appears (and disappears). It’s not flashy; it’s effective...
...Any production of this play stands or falls on who is in the title role. Here, Tread The Boards favourite George Ormerod is at his intense and dazzling finest. His Dane is energised, even when he’s struggling with depression. The outbursts of violence (like his treatment of poor Ophelia) are cruel and shocking (although perhaps his mum deserves it!). Ormerod handles the famous soliloquies like a virtuoso. He also brings out the humour of the role, much of it sarcastic.
As Ophelia, Emily Tietz is as reliably good as ever. Her mad scene is a highlight, although I question whether Ophelia would sing so consistently sweetly when so distressed. Phil Leach’s Polonius warms into the humour of this verbose old duffer, so we actually care about him when (spoiler:) he gets stabbed through the arras. David Hubball’s Laertes has plenty of oomph when he needs it – the climactic swordfight is superbly handled. Ray Murphy has his moments: the tormented Ghost is chilling, but it as the Player where he really gets to shine. There is strong support from Martha Allen-Jones as BFF Horatio, and Matt Rousseau and Jon Kerr as Rosencrantz and Guildenstern. Rousseau also has a fine moment as flamboyant sycophant Osric, towards the end.
Nick Wilkes’s excellent Claudius conducts himself plausibly regally, only becoming truly villainous when he admits his crime out loud...
...It’s a straightforward and accessible production but it’s not without moments of directorial flair. John-Robert Partridge knows when to add (we see Ophelia walking off to her demise, dogged by a worried Gertrude) and when to subtract. By reducing the players to just the one (Ray Murphy) we get a version of the play-within-the play unlike any I’ve seen. Using a crown, a bunch of flowers, and a mask, the Player conjures the characters emblematically in the love triangle/murder story. It’s a marvellously captivating moment and it’s what will stay with me from this version.
Recommended for those who’ve never seen the play staged before, because you won’t get distracted by Clever-clogs Concepts, and also recommended for those who know the play inside out, as a refresher course in how well Shakespeare knew what he was doing.
☆ ☆ ☆ ☆
