Hamlet – Sam Wanamaker Playhouse (Globe Theatre), London

A review of Hamlet, on now at the Sam Wanamaker Playhouse at the Globe Theatre. Without a big name/crowd pleaser in the lead role, this production is able to mine much darker scenes in the text.

Hamlet

The day I was due to go and see Hamlet at the Globe (more specifically at the indoor Sam Wanamaker Playhouse), I found myself thinking “Do I really need to see another Hamlet?” I saw Cush Jumbo play the Dane at the Young Vic only last year. A few years ago I saw Benedict Cumberbatch in the lead role at the Barbican. Probably others but I forget. But I think the key thing about these notable productions is that they were (almost) all about the star. Cast your Hamlet, and then build the rest around that.

The Globe isn’t entirely averse to a bit of star casting (I saw this many years ago). But this Hamlet, although he has stood out in previous Globe productions, is not (yet) a household name. George Fouracres is an excellent actor. But the freedom I perceived in not having the casting of Hamlet as the big draw for audiences is that a positive interpretation of the role is maybe less important.

And Fouracres’ Hamlet is not a good guy. Unlike Jumbo last year, who played the Dane as confident and aloof, this latest incarnation is sinister. Hamlet here is brooding and obsessive, unable to move past his mother’s seemingly happy new relationship. He bullies and belittles Ophelia, and seems rather gleeful about murdering some of the other characters. I spoke previously about the differing source texts for Hamlet and how every production must make choices. Well this one, led by Associate Artistic Director Sean Holmes , has certainly made some bold ones.

Something Is Rotten In The State Of Denmark

One thing that I really liked about this production of Hamlet is how far they lean into the darker aspects of the tale. Not just in terms of drawing out the characters, but the production as a whole. I saw something similar last year in A Midsummer Night’s Dream at the Globe (also with Fouracres); where the more the characters’ lives were disintegrating, the more their costumes, originally immaculate, came apart. Here, the characters start in fairly historically accurate-looking dress. But as their mental state deteriorates, their costumes break down and take on modern elements. Gertrude’s in a jumper and a petticoat with a pixie cut by the end of it. Likewise, the set becomes dilapidated and graffitied by the third act. The only one who seems unperturbed by the end and is still in his Tudor outfit is Claudius (Irfan Shamji) who is a definite bad guy and therefore not suffering any sort of mental collapse at what’s going on.

This clever concept is presumably a collaborative effort between, amongst others, Sean Holmes as Director and Grace Smart as Designer. I couldn’t see evidence of a separate Lighting Designer (although there was a Candle Consultant, Anna Watson), so presumably this was also Grace Smart. The use of lighting was equally clever. One of the draws of the Sam Wanamaker Playhouse is the use of candlelight to make the experience more authentically Early Modern. In this production, judicious use is made of candles, but also small floodlights, backlighting from the galleries (where the characters sometimes withdraw, as if in a castle at Elsinore), and complete darkness. It subverts our expectations and keeps us on our toes, so is very effective.

Recreating An Early Modern Experience Through Modern Elements

This production seems to have produced rather mixed reviews. What I noticed when reading a few was that the ones which were less favourable tended to lead with what surprised them. Hamlet’s Brummie accent, for instance. And one very divisive elements seems to have been throwing the Gravedigger’s scene out the window and replacing it with a sort of stand up comedy set by Ed Gaughan (Composer and Musical Director) which ends in a singalong of The Gambler.

So my point here is that I think that the less generous views may have been coming from a ideas of what Hamlet should be. Hamlet is a prince – what’s this accent all about? The Gravedigger’s scene is a classic, leave it alone! Why are we singing a Kenny Rogers song? What this perspective misses is the way that this production recreates some of the mood of a Tudor/Stuart theatre-going experience. The audience is involved. We are expected to call out, give our opinions. And Hamlet, after all, is a long play (this version is 3 hours 15). So the Gravedigger’s scene is about reinjecting some energy into a listless audience before the action draws to a conclusion. Gaughan certainly achieves that! I loved it.

Final Thoughts on Hamlet

I guess what I’m really saying is that maybe people take Shakespeare too seriously. I mean sure, this version was long, and Hamlet was a bit of a psychopath, and the approach was not very reverential to the original. But it was interesting, and engaging, and I had fun despite my uncomfortable seat. As did most people in the audience as far as I could tell. One woman was even weeping by the end, which is a surprising level of investment for a play where the ending isn’t really a surprise.

If I am to continue to go and see future versions of Hamlet, I would like them to be like this. With some excellent acting, interesting ideas, and innovative designs. I think this definitely an advertisement for the Globe’s approach where a) they put on the same plays every few years so have to keep it interesting and b) think more about crafting a good piece of theatre than some venues who (out of necessity) are driven more by financial pressures and ticket sales.

Speaking of tickets, there are very few left for some of the remaining performances of Hamlet. So if it sounds like your bag, take a look at the website and see what you can do.

Salterton Arts Review’s rating: 4/5

Hamlet on until 9 April 2022