Hamlet. Royal Shakespeare Company. Stratford-upon-Avon.
Hamlet is a play deeply ingrained in our cultural consciousness. Many of us first encounter it in school, studying its dark themes of revenge, madness, and tragedy. We walk into the theatre expecting a brooding drama, packed with famous soliloquies and familiar phrases. However, Rupert Goold’s latest production for the RSC takes these expectations and turns them on their head. He delivers a Hamlet that is startlingly fresh, visually striking, and unexpectedly humorous.
The story remains unchanged. The King of Denmark is dead, his brother Claudius has seized the throne and married Queen Gertrude. Prince Hamlet is devastated by his father’s death and his mother’s hasty remarriage. Having been visited by the ghost of his father who reveals he was murdered by Claudius, Hamlet vows revenge, feigning madness as he plots his course. What follows is a tragic spiral of deception, murder, and madness, culminating in Hamlet’s final duel with Laertes where most of the major characters meet their death.
While Goold’s production faithfully follows this narrative, its execution is anything but conventional. The entire production is infused with an invigorating sense of humour, often in surprising places. It adds depth and contrast to the tragedy. This is a visually dynamic and engaging Hamlet. Goold makes full use of movement, staging, and ensemble work to create a compelling spectacle.
Rather than the traditional castle setting, Es Devlin’s set design reimagines Elsinore as a ship – one that is slowly sinking. The stage starts flat but tilts alarmingly beyond a 45-degrees as the play progresses, mirroring the characters’ inevitable descent into chaos and doom. This staging choice reinforces the claustrophobic tension of the play, evoking the fate of the Titanic’s passengers – inevitable disaster looms. No one can escape. It’s a bold, striking concept that enhances the emotional weight of the production.
Small textual adaptations seamlessly integrate this nautical setting into the story, making it feel as if Hamlet was always meant to take place on a doomed ship. The timeline is also tightened, intensifying the action and heightening the sense of impending catastrophe. Shakespeare purists may baulk at these changes, but they breathe new life into the play, making it feel urgent and dynamic.
Luke Thallon’s Hamlet is an electrifying departure from the brooding, introspective portrayals we’ve come to expect. His Hamlet is charged with nervous energy, his jerky physical tics increasing as his supposed madness, and inner turmoil, deepens. He is witty and self-aware, frequently engaging with the audience and drawing laughter with his expressive reactions. His delivery of famous lines is often staccato and abrupt, making them feel immediate and accessible.
The famous ‘To be or not to be’ soliloquy is delivered with refreshing clarity. Here, Hamlet’s contemplation of suicide is directly tied to his internal struggle over avenging his father’s murder. Making his dilemma feel sharper and more poignant than ever before.
This is a Hamlet who demands attention, constantly challenging both the characters around him and the audience.
The performances across the board are exceptional. Nancy Carroll’s Gertrude is poised and controlled, her graceful exterior slowly unravelling as the play progresses. Her cabin confrontation with Hamlet, just before Polonius’ accidental murder, is an emotionally charged moment between mother and son.
Jared Harris’ Claudius is a commanding presence – calculating and powerful. Elliott Levey’s Polonius, often played as a tedious windbag, is instead delightfully funny, mining unexpected humour from his role as the King’s chief counsellor. Nia Towle’s Ophelia, his daughter, is played with quiet intensity. She evokes genuine sympathy, making her descent into madness all the more heartbreaking.
A standout moment comes with the visiting players’ performance of the imagined murder of the old King. The scene is exquisitely choreographed, with soprano Miranda Colchester’s haunting vocals amplifying the tension as Hamlet watches for Claudius’ reaction. Anton Lesser, doubling as the Ghost and the Player King, brings gravitas to both roles.
Hamlet’s school friends, Rosencrantz (Charles Brown) and Guildenstern (Tadeo Martinez), are played for laughs. Their expressions of confusion and visual bewilderment at their old friend’s erratic behaviour add an additional layer of comedy to the production. Highlighting Hamlet’s growing isolation from those who once knew him well.
This is a Hamlet that defies expectations. It’s fast-paced, visually arresting, and never drags – so much so that when it ended, I was genuinely surprised. That’s always a mark of a great production.
If you can’t make it to Stratford-upon-Avon before the run ends on March 29th, there’s good news: this production will tour across England in spring 2026. Cities include Truro, Bradford, Norwich, Nottingham, Blackpool, Newcastle, York, and Canterbury. Full casting for the tour is yet to be announced, but it will be fascinating to see how this ambitious staging translates to regional theatres.
This RSC Hamlet proves that even the most familiar of plays can be revitalised with bold vision, stellar performances, and innovative staging. Whether you’re a lifelong Shakespeare fan or a newcomer, this is a production that demands to be seen.
