Review by David Munro

THIS is a sparse and down to earth production of one of Shakespeare’s warhorses – Hamlet. It is also done in period costumes which is a pleasant change these days, and straight – with no hidden agenda, at least none that I could descry which is also a relief; no more at least than Shakespeare himself intended which, if I understand it correctly, is not really relevant these days.

Hamlet is played by Ed Stoppard, whose father, Tom, wrote a play based on the premise of the events of the drama being viewed and commented upon by two of the minor characters, Rosencrantz And Guildenstern Are Dead, which is the subject of an in-joke when the two characters flip a coin in this production as they do in their eponymous drama.

As any actor will tell you Hamlet is a fearsome part. Apart from the length of the play (the production under review plays 3hrs 10 mins) the character itself is open to so many interpretations and is stamped with the personality of so many leading tragedians that it is a real test of endurance and dramatic expertise that has defeated many young actors.

Ed Stoppard passes the test with flying colours. To start with he looks the part of a tormented youth with his tall, slightly coltish figure and spare good looks.

He runs the gamut of the emotions; distress, despair, disgust and deceit as required with sincerity and believability.

In addition, he displays a cool self possessed exterior which make his moments of introspection and rage the more effective.

His was no moody Dane but a man with a mind like quicksilver whose moods were well calculated for effect and whose icy intellect controlled every situation.

He speaks the lines rapidly and in an almost conversational manner extracting every ounce of humour or irony from them but with out losing their poetic value.

If occasionally he appears more like Jimmy Porter than the Prince of Denmark, it is a lapse of character which his reading of the part makes credible.

An unconventional but totally compelling performance that overrides one’s memories of the more classical and, dare I say it, dull performances of Gielgud, Redgrave et al. It would have been a remarkable performance from an experienced actor but from one with such a slight CV, it is incredible.

With such an incandescent performance it would not be surprising if some of the other performances seemed dull and lifeless by comparison and it is true that when Stoppard was off the stage, and certainly in the beginning of the second act, the emotional temperature seems to drop and the dramatic tension he has engendered sagged and one awaited his next entrance with eager anticipation.

Nevertheless, both Anita Dobson, as Gertrude, and David Robb, as Claudius, more than held their own in their scenes. Anita Dobson was a kind but foolish Gertrude, overwhelmed by her dynamic son but still a loving mother. She spoke the lines with feeling and one was quite sorry at her demise at the end of the play.

David Robb’s Claudius was a robust if devious king not the usual evil-dripping caricature as he is so often played. His remorse in the chapel scene seemed genuine and his villainy had an air of expediency about it which, in this era of duplicitous politics, did not seem out of keeping.

Ophelia is a thankless role although in Alice Patten’s performance she had her moments making Hamlet’s love for her understandable.

Not so, I am afraid, her brother. Ben Warwick’s Laertes was a real stick of a character, wooden and boring. You could not imagine him leading a scout patrol let alone a revolt and his reaction to his sister’s death had all the emotion of a man who has mislaid his pencil.

Stephen Unwin’s direction matched Stoppard’s delivery, quick incisive and effective. Scene followed scene smoothly and seamlessly and one did not notice the inordinate length of the almost uncut text.

This was a truly memorable production and one to savour for a long time to come.

I thought David Warner’s Lear, at Chichester this year, deserved to be in the pantheon of great performances but I consider now Stoppard’s Hamlet joins it amongst the gods of Theatre; making them the two great Shakespearean performances of this year.

Sadly, the programme does not list the theatres where this production is headed but I strongly urge you to forget any prejudice you may have about Shakespeare or Hamlet and to catch this performance if you can.

Hopefully, it will come to rest in the West End. If it does not, then the West End will be a poorer place theatrically.

Thanks to Mr Stoppard, Hamlet is a young man whom it is a pleasure to meet.

Editor’s note: This review was written following Ed Stoppard’s performance at Richmond Theatre. Given the acclaim surrounding it, we thought those who are considering seeing it in the West End should know just how good he is!

Hamlet by William Shakespeare. Directed by Stephen Unwin.
Set Designer – Michael Vale.
Costume Designer – Mark Boorman.
Lighting – Malcolm Ripperth.
Sound – Dan Steele.
Fight Director – Terry King.
Original Music – Olly Fox.
CAST: Ed Stoppard; Anita Dobson; Michael Cronin; Patrick Drury; David Robb; Alice Patten; Sam Hazeldine; Liam Evans-Ford; Richard Hansell; John Heffernan; Martin Hodgson; Rhys Meredith; Russ Waiton.
Presented by English Touring Theatre
Richmond Theatre, The Green, Richmond, Surrey, TW9 IQJ.
Tues, Nov 1 – Sat, Nov 5, 2005
Evenings 7.45pm.
Matinees Wed. & Sat. 2.30pm.
Box Office: 0870 060 6651