'Hamlet’, one of Shakespeare’s most renowned plays, has been screening in cinemas in the form of the Royal Exchange’s pre-recorded performance. Lead actress Maxine Peak giving an excellent performance as Manchester’s latest Hamlet, this specific rendition is different from past ones not only in it’s choice of lead, but also in its slight alteration of other details. The character of Polonius, for example, has become Polonia, mother of both Ophelia and Laertes. Both Rosencrantz and Marcellus have followed suit (the former retaining their original name, the latter becoming Marcella). These slight changes have certainly succeeded what I believe to be their aim, that is to say, making this particular production its own. The story of Hamlet is one that has been told time and time again, so much so that it even was adapted to become a Disney film. It, as every Shakespeare play does, includes themes which are so present in our lives; loyalty and love, power and youth, and there is no doubt that this specific performance was able to eloquently demonstrate them all, in a spectacular show.
This production of Shakespeare’s ‘Hamlet’ has not only been adjusted in terms of its characters, but also its setting. The neon reflective jackets of the gravediggers, the police uniform of the officer, and dark suits of courtiers, coupled with the accents of the actors suggests a modern Manchester. This allows a more personal relationship with the audience to be developed, many of them living in the same city as the theatre, and the play’s setting. Whilst it is a little unclear what the would-be royal court has become for the twenty first century, I think it is quite possible that the role of King is, instead Don, though this is, of course, a personal interpretation. Nevertheless, a Mob would certainly be an apt setting for a tale of such drama and death.
Although many artistic techniques were employed throughout, the most chilling, and brilliant, was certainly the use of clothes instead of bones. These are dropped onto the stage during the Gravedigger’s scene, (Act V, Scene i), and are used to represent the soil and bodies of the graveyard. A folded cream jumper becomes poor Yorick, who Hamlet knew. This, at first, seems a little shallow, yet after some time on the stage, the clothes become almost reminiscent of the clothes found at the concentration camps of WWII. Each article is representative of a life, the almost claustrophobic pile becoming slightly harrowing. This certainly gives a more accurate, and chilling representation of mortality than a pile of plastic bones ever could.
A slight issue, however, is the lack of actors in the cast, which has caused several individuals to double-up on their roles. Whilst they manage to perform both brilliantly, it certainly caused confusion among a few as for example, Marcella and the King of the Players, both portrayed by the spectacular Claire Bennet, were interpreted by some as the same character, when they, in truth, are not. This would be solved, had each character only worn a single outfit to confirm their identity, however, the costume changes of, among others, Claudius and Gertrude, shatter this possibility.
Nevertheless, this 2014 performance of Shakespeare’s Hamlet, now showing in cinemas, was certainly a spectacular one. Although all actors were superb, Gillian Bevan’s Polonia, in my personal view, stole the show, Bevan managing both the parental sternness and humour of the character with fabulous fluidity. Shakespeare’s plays are so widely performed, it is rare to find an adaptation which manages to keep the essence of the play, whilst simultaneously creating something individual. Well done to all.
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