Hamlet - Review

National Theatre, London

****

Written by William Shakespeare

Directed by Robert Hastie

Hiran Abeysekera

Robert Hastie’s take on Hamlet is an exciting night at the theatre. Set on Ben Stones’s bold palatial staging that makes full use of the Lyttleton Theatre’s towering flys, Hastie mines the humour in this most famous of Shakespeare’s tragedies, making the narrative refreshingly accessible while staying true (for the most part) to the original text.

Hiran Abeysekera plays the Prince of Denmark, with a delivery that’s confident and wisely nuanced. At times perhaps his speech is too fast with moments of the verse’s beauty sometimes garbled. But Abeysekera’s authenticity shines through and he can be rightly proud of his impish energetic Hamlet. The final act’s fencing bout (brilliantly fight designed by Kate Waters) against Tom Glenister’s Laertes is exhausting to watch - so heaven knows what a physical challenge it must be to Abeysekera. Great theatre though, with Hastie splashing lashings of stage blood whenever the story gets gory.

Francesca Mills as Ophelia is enchanting. At first a provocative coquette, her descent into madness makes for harrowing drama and genuine pathos. Alistair Petrie as Claudius brings a patrician wickedness to the role and if Hastie has made the role of one of the Bard’s most brutal baddies slightly too melodramatic, it only adds to the evening's murderous mayhem. Other class acts in the company include Geoffrey Streatfield’s prattling Polonius (who is also gifted a hilariously bloody demise in the Closet scene) and Ryan Ellsworth who takes on the honours of the Ghost, Player King and First Gravedigger magnificently. If there is one scene where Hastie’s editing has been too severe, it is in the cutting of the Ghost’s brief speech in the Closet scene. Those six lines add a particular heft to the narrative.

Richard Taylor’s music adds to the occasion, as Hastie’s Hamlet offers up a noble stab at this massive tale. An evening of classy classic drama that will be enjoyed by both Shakespearean cognoscenti and novices alike.

Runs until 22nd November

Photo credit: Sam Taylor

The Father And The Assassin - Review

National Theatre, London

***

Written by Anupama Chandrasekhar 

Directed byIndhu Rubasingham

Hiran Abeysekera

The Father And The Assassin is a well researched look at Nathuram Godse, the man who assassinated Ghandi. Anupama Chandrasekhar’s play charts Godse’s life, exploring what may have sparked his right-wing nationalist Hindu beliefs that were to set him so fatally at odds with Ghandi. On stage throughout, Hiran Abeysekera turns in a top-notch performance as Godse. 

But 10/10 for history doesn’t translate to 5-star drama. Chandrasekhar’s narrative plays out more like a shallow Godse biopic rather than an engaging dramatic analysis. 

History’s lesser known characters have often proved good meat for skilled dramatists - think what Peter Shaffer made of Salieri in Amadeus, or the makeover that Tim Rice and Andrew Lloyd Webber afforded to Eva Peron in Evita, both A* studies of B-grade people. Chandrasekhar's work is not in the same league, with The Father And The Assassin proving a very lengthy 2 1/2 hours in the Olivier. Compounding matters, Indhu Rubasingham’s direction focusses more on her actors’ shouting than on having them explore their characters’ depth. The script’s frequent fourth-wall breakouts prove to be a lazy gimmick. The 1940s partitioning of the subcontinent is respectfully played out, however the bashing of the colonising Brits is a tired, expected cliché.

A good history lesson but a dull night at the theatre.

Runs until 14th October

Photo credit: Marc Brenner