Writer: William Shakespeare
Adaptor: Christine Jones with Steven Hoggett
Music: Radiohead
Director: Steven Hoggett and Christine Jones
Shakespeare and Radiohead. Anyone concerned whether a collision between the Prince of Denmark and a 2003 rock album would work can rest assured that they are not alone. Even frontman Thom Yorke had his doubts. He reportedly told co-creator and co-director Christine Jones that this might be a ‘kind of sacrilege’.
Satisfyingly, this co-production between Factory International and the RSC proves all the doubters, and Yorke, wrong. The themes of Shakespeare’s masterpiece and Radiohead’s music fuel and spur the other on. Anger, depression, paranoia, corruption. The stunning new arrangements are clearly living rent free in the characters heads like a constant migraine. Electronic buzzing and humming, droning guitar riffs, drumbeats all, quite literally, jolting the cast into action, and inaction. Giving clear intentions to the drama on stage.
The stage itself is a successful marriage, by AMP featuring Sadra Tehrani, of the theatrical and musical. Amps litter the playing space, which is covered in acoustic foam and features recording studio booths to house the brilliant live band. Moody projections are cleverly realised throughout, often accompanied by falling and billowing smoke. Jessica Hung Han Yun has designed a lighting palette of blacks and greys. Ominously industrial yellows and greens are as close as we get to colour. The Aviva Studios warehouse-style space adds to the atmosphere but even the shorter running time is slightly too long for the non-padded seats. This is Hamlet in a hurry. With mixed results, it must be said.
Samuel Blenkin, in the title role, is satisfyingly riddled with know-it-all teen angst and sarcasm, rattling off dialogue at a desperate pace, without losing any of the bard’s meaning. Obstinate grief at its most obstinate. Visceral and expressive movement sequences, choreographed beautifully by Jess Williams, nicely fill in the narrative blanks. However, those unfamiliar with Hamlet might well miss some of the plot points and the peripheral characters are left rather underdrawn. This might not be one for the purists.
As Ophelia, Ami Tredrea is given some extra dialogue to fully flesh out her decision-making. It neatly modernises the part and gives her an interesting determination. On the other hand, there are some other, rather pointless, additions of modern swear words. Pointless partly because Shakespeare was not averse to a curse and would have popped one in those places, if required. But also, because they break the ‘show, don’t tell’ rule and tell the audience what is already clear from the actors’ performances.
And the performances are the thing… Paul Hilton’s Claudius appears to be channelling a nefarious Jagger. He possesses a gangly, untrustworthy energy which is very effective. Blenkin is really one to watch. Kudos too to Alby Baldwin who, as Horatio, returns the focus to the symbiosis between the play and the album. They recap the chaotic final scene/number and deliver, what appears to be, a rousing call against arms.
A reminder to us all, perhaps to listen more to those who are “loved of the distracted multitude”.
Runs until 18 May 2025, before transferring to the Royal Shakespeare Theatre, Stratford Upon Avon from 4 June – 28 June 2025.
The Reviews Hub Score
Hail to Hamlet
