Heart-wrenching Hamlet: Tears worth spilt

National Theatre Live's Hamlet
Review by Andrea Vermaak

Hamlet (Benedict Cumberbatch)
Photo by John Persson

The stars – William Shakespeare, Benedict Cumberbatch and director Lyndsey Turner – have aligned to present National Theatre Live’s theatrical phenomena, Hamlet. Were it that Shakespeare were still alive to see his longest, and very likely most performed play with such life breathed into it that it instils a hushed awe of deeply emotional proportions in a captivated audience, he, like I, would weep.

I knew from the first scene that it was going to be intense, but amazing. Although I watched the live theatre performance from a Cinema Nouveau seat in Pretoria, South Africa, the atmospheric production was as great and intense an experience as sitting in the Barbican in London itself.

Hamlet (Benedict Cumberbatch)
Photo by Johan Persson

It’s as if Shakespeare knew that Cumberbatch was to play Hamlet, and wrote the role especially for him. Cumberbatch’s genius performance is heart-wrenching to the core. He takes on the immense role head-on, physically embracing the very essence of Hamlet’s loaded speeches. Hamlet’s frustration, anger, pain and grief visibly courses through Cumberbatch’s veins, leaving the audience in a pool of their own tears. During interval, a friend turned to me and said, eyes wide, “I can feel it.” All I could do was nod in agreement, rendered speechless at Cumberbatch’s magnificent performance. I can still feel it.

No matter how many times I’ve read or watched Hamlet, Cumberbatch introduced me to Hamlet as if for the first time. I now can’t imagine anyone else playing Hamlet but Cumberbatch. Give him all the awards possible.

Ophelia (Siân Brooke)

Photo by Johan Persson

New life is also breathed into the rest of the characters. No character is left to be pondered upon, but is as real and true as the stage on which the actors stand. Cornelius (Ciarán Hinds) and Gertrude (Anastasia Hill) are more infuriating than ever. Cornelius is perfectly showcased as the sinister king he is, while Gertrude’s weaknesses are left bare on her wedding feast table for all to see.

Laertes (Kobna Holdbrook-Smith) is the definition of blood boiling, calculated action, counteracting Hamlet’s depressive procrastination and irrational actions perfectly. Siân Brooke embodies Ophelia’s innocence, confusion and mad grief like no other actress before her. Like Cumberbatch to Hamlet, Brooke climbs into Ophelia’s very soul and pulls her out, leaving the wretched maid exposed and raw as I’m sure Shakespeare intended.

Although brief, Karl Johnson’s performances as the Ghost of Hamlet’s father and the Gravedigger, is spine-chilling and endearing, respectively. Polonius (Jim Norton) is, for once, also somewhat endearing in his awkward ignorance and irritating incoherence, while Horatio (Leo Bill) is the ever loyal, but now also ‘hip’ friend everyone wants to have, making Hamlet as relevant for our times as it was when first performed in 1601.

Karl Johnson (Ghost of Hamlet's Father)
in Hamlet at the Barbican Theatre
Photo by Johan Persson

Turner’s use of modern costume and sets also makes Hamlet a suave and relevant production. Her flawless direction also does absolute justice to the masterpiece. She creates an ominous atmosphere through emotionally charged speech (only some may realise that the heart of the production, Hamlet's 'To be or not to be?' speech, is newly positioned in the script, yet cleverly adds to the dark atmosphere), magnificent visual artistry, and transitions as smooth and natural as the acting. Deep, thundering sound, and impressive lighting gives, like Cumberbatch’s performance, physical effect to the horror and grief that lies within Hamlet’s soul, leaving the audience unsettled. The moving set is what Aristotle would call spectacular, cleverly used to its utmost potential. In all, this production of Hamlet is mesmerising and magically breathtaking to say the very least.

Personally, this production of Hamlet left me weeping, but wanting more. I went to watch it twice, but would have gone to the cinema as many times as I could, had I the time and money. Some may call me a masochist, but I would gladly be left penniless and exhausted if I could watch this particular interpretation live. It stirred something deep within my subconscious, holding a mirror up to my inner Hamlet, though I’ve read Hamlet at least three times, and seen a few other interpretations of the play (yes, Hamlet is my soul brother; my spirit animal. Of this I am convinced). To put it bluntly, I was kicked in my already raw emotions, but it is the kind of catharsis I would gladly experience again.

Ciarán Hinds (Claudius) in Hamlet at the Barbican Theatre
Photo by Johan Persson

I could gush for eternity about this production, but I fear I would run out of adjectives, too many of which I have already used. I also fear that I may become as verbose as Polonius, if I am not so already. I will, however, leave you with this: Every time I encounter the Danish prince, I learn something new. Cumberbatch, Turner, as well as the rest of cast and crew, reminded me of everything I already knew and taught me everything I still need to learn about Hamlet. I am now fulfilled, although also heartbroken, in Hamlet. National Theatre Live’s Hamlet is a production of spectacular proportions that would leave even its author in tears.  

Gertrude (Anastasia Hille) and Hamlet (Benedict Cumberbatch)
Photo by Johan Persson

Images courtesy of National Theatre Live.