Hamlet sets sail: Shakespeare’s Prince of Denmark tackles treachery and the Titanic at the Royal Shakespeare Company

For lovers of the Bard, there has been a sense of overwhelm in the constant slew of Shakespeare adorning the streets of London. From Richard II, starring Bridgerton heartthrob Jonathan Bailey, to the disco transformation of Much Ado About Nothing, the trend of modernised Shakespeare is at its peak. Amid the hubbub of Shakespeare, I chose a venue closer to home, the scenic hometown of the “Bard of Avon”, the Royal Shakespeare Company, to witness a less-than-orthodox portrayal of Hamlet, conjured by theatrical mastermind Rupert Goold.

Luke Thallon’s pioneering Prince of Denmark brings all the bells and whistles of the tragic tale, with the powerful yet troubled Hamlet pacing from port to starboard rather than through palace halls

When Hamlet comes to mind, one thinks of tragedy, machismo and suits of armour. However, for Shakespeare traditionalists, the concept of Hamlet on a boat, specifically the Titanic, would only bring about a feeling of seasickness. Nevertheless, the unique set design of Es Devlin does not feel like a theatrical episode of Below Deck, but perhaps an arguably fitting setting for Hamlet. In one singular night of carnage, the gradually ticking analogue clock evokes a sense of engaging and satisfying tension. Whilst watchers may be confused by the interweave between traditional Shakespearean English and the cigar-smoking, Charleston-dancing cast, the effort is clearly there when adapting Shakespeare to well-known historical events.

Luke Thallon’s pioneering Prince of Denmark brings all the bells and whistles of the tragic tale, with the powerful yet troubled Hamlet pacing from port to starboard rather than through palace halls. Commanding the stage like the captain of a ship, Thallon has all the mad ravings of your typical Hamlet, but his words are spoken in a way so natural and endearing. Notably gaunt and modernly dressed, with an array of shirts and double-breasted jackets, the arguably unknown casting of Thallon brings ever more acclaim to his performance. You cannot help but feel for Hamlet, even though he is conflicting, to say the least.

Theatrical praise should also be given to Jared Harris’s stoic Claudius and Nancy Carroll’s Gertrude, portraying the ever-troubled roles in their unorthodox love story in a way that contrasts and conflicts with Thallon’s youthful presence. The often tilting sway of the boat finds Harris and Carroll towering over the disruptive Hamlet, with Harris’s outbursts of rage feeling ever more threatening on the steep rake of the stage. These actors are veterans of the Shakespearian world, bringing a naturalness to these figures that can only bring about merit.

Although Nia Towle’s Ophelia brings all the yearning of the troubled love interest, her slapdash burial at sea felt incredibly jarring, being somewhat instantaneously thrown overboard after the announcement of her death

Whilst the grandeur of the performance is something to be applauded, various elements of this production feel perhaps rushed into the ‘it all happened in one night’ time crunch and the reduced script. I found this particularly strained in Act II, which seemed to squash all the major plot points into a brief one-hour. Although Nia Towle’s Ophelia brings all the yearning of the troubled love interest, her slapdash burial at sea felt incredibly jarring, being somewhat instantaneously thrown overboard after the announcement of her death, with all the mourning following feeling rather forced considering the pace.

Similar criticism can be brought to the final dramatic death scene, where I found myself rather lost by the sheer pace of the bloodshed and also distracted by the actors falling down the ship into a cubby hole at the bottom like a kind of nautical slide. Whilst I can imagine this would be a fun treat for the actors, it often felt rather comical, feeling confused compared to the traditional contained setting of the castle halls.

I am nowhere near a traditional Shakespeare, and I recommend that anyone uncertain about delving into this world of Shakespeare give Hamlet a try, even if the text seems daunting to grasp

Nevertheless, it goes without saying that this production of Hamlet is a triumphant take on a masterpiece. The iconic Jaws line “You’re going to need a bigger boat” seems utterly unsuitable for the Royal Shakespeare Company’s interpretation of Hamlet, feeling constantly gargantuan in scale and performance. I am nowhere near a traditional Shakespeare fan, and I recommend that anyone uncertain about delving into this world of Shakespeare give Hamlet a try, even if the text seems daunting to grasp. Who wouldn’t want to see a giant boat in a theatre?

Hamlet shows at the Royal Shakespeare Company, Stratford-Upon-Avon until 29 March. Tickets are available here.