Synopsis Written between 1599 and 1601. The play, set in Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius, who has murdered Hamlet's father, the King, and then taken the throne and married Gertrude, Hamlet's mother. The play vividly charts the course of real and feigned madness - from overwhelming grief to seething rage - and explores themes of treachery, revenge, incest, and moral corruption.
Edward Bennett (right) in his usual role as Laertes
Date: 10 December 2008
The highly-anticipated London opening of Gregory Doran's RSC production of Hamlet went ahead last night without its star attraction. Laid low by a bad back, David Tennant was replaced with three hours notice at the Novello by understudy Edward Bennett, who was left to face the critics in only his second London performance as the Dane (See News, 9 Dec 2008).
Bennett's promotion led to a last minute re-shuffle of the ensemble cast. Bennett's usual role, Laertes, was taken by Tom Davey, with Ricky Champ stepping in as Guildernstern and Robert Curtis as Lucianus. The other principals were unchanged, with Patrick Stewart doubling as the Ghost/Claudius, Penny Downie as Gertrude, Mariah Gale as Ophelia and Oliver Ford Davies as Polonius.
The production has enjoyed unprecedented interest since Tennant's casting was announced last year. The Courtyard stage door was beseiged by Doctor Who fans during the Stratford-upon-Avon run, while tickets for the Novello transfer sold out in hours, with the recent emergence of a number of forgeries creating a further headache for the box office. It continues at the Novello until 10 January, with no confirmation at this stage of when Tennant will return.
Overnight critics were quick to acknowledge the “sheer nerve and self-confidence” of Bennett stepping up to deliver a “word-perfect” performance at such short notice. Most had also reviewed Tennant's performance in Stratford, and pointed to marked differences between the two actors, notably Bennett's “emotionally-withdrawn” interpretation of the role versus the “quicksilver wit” inherent in Tennant's. The supporting cast were roundly praised, with Patrick Stewart's “masterly” Claudius and Penny Downie's “stricken” Gertrude proving palpable hits, while Oliver Ford Davies moved Michael Billington to question “when was there a better Polonius?” Despite quibbles over director Doran's “strange cuts", particularly his decision to reduce Fortinbras to a mute role, most were happy to grant Bennett "a well-merited moment in the sun”.
Maxwell Cooter on Whatsonstage.com (five stars) – “Hamlet is a play that is dominated by the central character and although the RSC makes much of its ensemble acting, Bennett’s Hamlet will not be, nor cannot be, the same as Tennant’s. This is not to unduly criticise Bennett, who steps into the role superbly and won a standing ovation from a sympathetic audience. But he doesn’t have Tennant’s gifts for mimicry and he’s a prince of a little more sombreness … Gregory Doran has marshalled a brilliant supporting cast, probably the best that I’ve seen. Patrick Stewart is a magnificent Claudius, the epitome of a sharp-eyed, calculating schemer … He’s complemented by Penny Downie’s passionate Gertrude, full of vigour at the start of the play, self-loathing by the end, willingly drinking the poisoned wine … This is a superb production, brilliantly spoken, studded with both menace and tragedy. Tennant would have made for a different Hamlet but I’m not sure that it would have been improved by that much.”
Michael Billington in the Guardian (four stars) – “Bennett incorporates some of Tennant's business such as his manic shout of 'Whee' as he propels himself off stage in an office chair. But this is a more robustly traditional reading of the part which marks Bennett down as an actor to watch. Much of the strength of Doran's production lies in the surrounding casting. Patrick Stewart is a masterly Claudius, who starts as a smoothly duplicitous figure, slowly disintegrating. By the end he is so aware he has been outwitted that he almost gratefully accepts the poisoned cup from Hamlet. And when was there a better Polonius than Oliver Ford Davies? He has exactly the right mix of courtly sycophancy, personal cunning and sad senility … I still regret the rearrangement of the order of the soliloquies and the conclusion on a note of romantic tribute to Hamlet. But this is a first rate production that gives Edward Bennett a well-merited moment in the sun.”
Nicholas de Jongh in the Evening Standard (three stars) – “The Bennett Hamlet is an awkward, emotionally withdrawn, physically gauche young man, who does up all the buttons on his three-piece suit, broods in a red T-shirt and comes to resembles a cross between Peter Pan and the young Prince Charles ... Doran’s spectacular, modern-dress, mainly bare-stage production, with designer Robert Jones’s mirrored walls, giant, swinging doors and gaggle of chandeliers, offers a far more oppressive sense of Elsinore as a prison than at Stratford. Some performances illuminate the Hamlet picture well: Mariah Gale’s bereft Ophelia drifts into a painful madness, Oliver Ford Davies’s far too mature Polonius, who is being nudged by senility but does not notice, smugly revels in his own tediousness, while Patrick Stewart’s Claudius proves a mild-mannered, bespectacled chuckler, with a hidden, vicious streak and a suicidal impulse. The chief weakness of Doran’s production, which virtually does away with the character and politics of Fortinbras, lies in its wispy vagueness. It tries but does not really manage to evoke the dangerous, ghostly, religion and revenge-possessed world of Elsinore where spying is what comes naturally.”
Charles Spencer in the Daily Telegraph – “For sheer nerve and self-confidence Bennett undoubtedly deserved the cheers. As Hamlet, he has to hold a glass of champagne during the opening scene. The understudy's hand betrayed not the faintest tremor of nerves. And throughout the longest role in Shakespeare he was impressively word perfect. It has to be said, however, that he is not a natural Hamlet. In the past he has specialised in silly asses. Here he seemed to be making a strenuous effort to be deadly serious however, and the result in the first half was a slow, stolid competence that lacked the quicksilver wit and intelligence of Tennant's performance. After the interval he greatly improved, bringing a thrilling mixture of anger and anguish to the closet scene with his mother, and suggesting a hint of spiritual understanding in the last act that eluded Tennant. It was, in short, a notably plucky shot at an impossible task and no one could complain that they had been forced to endure Hamlet without the Prince.”
Benedict Nightingale in The Times (four stars) - “David Tennant was recuperating in his Tardis, maybe the victim of a Dalek sympathiser who had zapped his back. But Patrick Stewart was still on stage, compensating for the absence of Tennant’s prince by playing two roles and, it seemed, twin brothers: a suave, slippery Claudius with both hardness and guilt within and as scarily corporeal and ferociously vengeful a ghost as I recall … (Bennett) got a standing ovation, and maybe deserved it for valour in the theatrical field. But I’d give him a sitting ovation, sorry for an actor who hasn’t had Tennant’s chance to explore drama’s trickiest, most demanding role … Most supporting performances are strong, especially Penny Downie’s stricken Gertrude and Oliver Ford Davies’ Polonius.”
Simon Edge in the Daily Express (four stars) - “I didn’t see Tennant at Stratford, but I didn’t recognise in Bennett’s performance the athleticism, mimetic vigour or wild humour that other critics noted. On the other hand, with his toothy features and geeky bearing, Bennett brings a bratty, ungainly petulance to the opening scenes which makes Claudius’ charge of 'unmanly grief' ring true ... The absence of Tennant otherwise emphasises the fine performances in this confident modern-dress production: Patrick Stewart is a disarmingly genial Claudius-the-usurper (doubling up as his bitter, rough-around-the-edges murdered brother) while Penny Downie plays Hamlet’s mother as a glamorous but efficient county hostess. Oliver Ford Davies is a wonderfully funny Polonius, rambling into a soporific trance with his own unwanted musings … It’s a tribute to RSC resourcefulness – with Guildenstern stepping in to play Laertes, Lucianus playing Guildenstern and Fortinbras playing Lucianus – that nobody missing out on Tennant’s performance ought to feel short-changed.”
There are some things even Time Lords can’t fix. So, the bad back that forced David Tennant to miss the previous night’s performance meant that he missed the press night too – and instant fame for Edward Bennett, the understudy catapulted into the spotlight.
This makes it tricky for a reviewer: Hamlet is a play that is dominated by the central character and although the RSC makes much of its ensemble acting, Bennett’s Hamlet will not be, nor cannot be, the same as Tennant’s. This is not to unduly criticise Bennett, who steps into the role superbly and won a standing ovation from a sympathetic audience. But he doesn’t have Tennant’s gifts for mimicry and he’s a prince of a little more sombreness.
He’s sustained by the quality of the ensemble acting. Gregory Doran has marshalled a brilliant supporting cast, probably the best that I’ve seen. Patrick Stewart is a magnificent Claudius, the epitome of a sharp-eyed, calculating schemer. I liked the way that he addressed Laertes before Hamlet when discussing the pair’s future education and his admonishing shake of the head to Hamlet after the play scene served a double purpose; an indication that Hamlet had overstepped the mark and a chilly warning that the prince should watch his step. This is certainly a king not to be trifled with.
He’s complemented by Penny Downie’s passionate Gertrude, full of vigour at the start of the play, self-loathing by the end, willingly drinking the poisoned wine.
Oliver Ford Davies plays Polonius beautifully, managing to portray the amiable old buffer, whose children complete his pat homilies for him, while, at the same time, hinting at the calculating political mind that has brought him to such a position. And yet, his memory failures and wandering mind suggests a man who knows that he’s nearing the end of his active life. Mariah Gale’s Ophelia is equally strong, sketching the descent from a confident young woman to pitiful madness.
Not everything works. There are some strange cuts; we’re never informed how Hamlet managed to extract himself from Rosencrantz and Guildenstern and find his way back in Denmark. Even more confusingly, Fortinbras is virtually cut from the play, making a token, and silent, appearance at the end, probably much to the confusion of any Tennant-inspired Hamlet first-timers. It’s not just the question of losing the closing speech, Denmark is in a state of anxiety about Fortinbras’ intentions and his appearance at the end shows the futility of so much of Claudius’ manoeuvrings. By ending with Horatio’s farewell to his friend, it emphasises the personal above the political, in contrast with what’s gone before.
The first night audience was certainly not short-changed by the non-appearance of its star. This is a superb production, brilliantly spoken, studded with both menace and tragedy. Tennant would have made for a different Hamlet but I’m not sure that it would have been improved by that much.
- Maxwell Cooter
NOTE: The following FIVE STAR review dates from august 2008 when this production premiered at the Courtyard Theatre, Stratford-upon-Avon.
In the first place, Hamlet should be exciting. And Gregory Doran’s full-value production for the RSC in the Courtyard is exactly that. In the second place, we should respond to Hamlet himself as a funny, fast, sardonic, headstrong prince with a streak of fatal prevarication and sense of his own intellectual superiority.
And that we certainly do. David Tennant may be television’s Doctor Who getting above himself, according to snobs and ignoramuses (sorry to include Jonathan Miller in that category), but he’s a really fine, athletic and technically accomplished classical actor to boot; as indeed were many of his Dalek-dishing predecessors, from Patrick Troughton and Tom Baker (once Olivier’s tip as his own successor) through to Christopher Ecclestone, himself an outstanding, gloomy Hamlet, and now Tennant.
The setting by Robert Jones is a hall of mirrors, hung with six chandeliers, the costumes contemporary with greatcoats and shiny armour for the switzers at Elsinore. Hamlet time-travels through his own destiny, donning red T-shirt and jeans for “To be, or not to be,” mixing a fashion page look of dinner suit and bare feet for the play scene and trudging back from exile in England in walking boots, woolly top and anorak.
So the gravedigger (Mark Hadfield) becomes a person he meets en route; he’s thus dragged back into his own tragedy as the funeral procession arrives. “Remember me” cries Patrick Stewart’s superbly resonating Ghost – doubled with his own brother/murderer, an icily calculating Claudius – and Tennant scratches his palm with a knife in a blood pact. Will he kill Claudius as the new king kneels in prayer? The stage goes to black-out in the most unusual interval break I’ve ever experienced.
We know Hamlet as much from what he says as from how he treats people. Tennant is brilliant at this, honing his wit at Polonius’s expense, delighting in the stage-loric grandness of John Woodvine’s Player King, or tolerating Osric (freshly done by Ryan Gage) with an appreciative playfulness. And he moves and speaks with the speed of light, a chameleon, a prankster, a misunderstood maverick.
This is easily the most complete Hamlet of recent years, and one of the most enjoyable. I can even live with my Oliver Ford Davies problem (sounds like the history master having a go) for the subtlety and grace he brings to Polonius, shot through the arras in a splintering glass panel. Penny Downie is a beautiful, sadly victimised and emotionally pliant Gertrude, Edward Bennett a striking Laertes and Mariah Gale a brilliantly affecting Ophelia, clutching her wild flowers – a bunch of long country stalks, for a change, not the usual posy – and tearing at her clothes with real abandon. A great evening, and a humdinger of a hit for the RSC.
Earlier in the week I 'reviewed' Twelfth Night and, as much as I liked it, considered it 'another' Twelfth Night. Well this certainly isn't 'another' Hamlet. Greg Doran's fresh production makes you look at the play anew and David Tennant's interpretaion is like no other. I still think it's an irritatingly overblown play and I can't say I found all of Tennant's playfullness worked, but it's a fresh perspective and I for one was delighted to be in a very different audience rather then the 'usual suspects' at Twelfth Night. - Gareth James
12 Jan 09
This is a first rate production of Hamlet, undoubtedly one of the finest i have seen. Tennant is captavating in the lead role, wildly funny, quick witted and deeply moving.I rate him very highly and he has undoubtedly proved himself a fine classical actor. This is by no means a one man show though. Patrick Stewart is a magnificent Claudius in a performance which ranks up there with the very best interpretations of the role. He is so subtley convincing that you almost forget he's the villain. Oliver Ford Davies is hilarious as the prattling old fool Polonious whilst Penny Downie is a moving and beautifully spoken Gertrude. As Ophelia Mariah Gale has a potent sense of danger about her and delivers a beautifully poignant mad scene, one of the higlights of the night. not everything is perfect - Some of Doran's cuts border on ridiculous (No explanation of how Hamlet came back from England) however overall this is a beautifully spoken and powerful piece of theatre which should not be missed. - Tom
06 Jan 09
Edward Bennett gave a hugely admirable performance as Hamlet on Friday night, which was rewarded by a standing ovation from many audience members. He should feel very proud of what he has achieved. Sterling performances, too, from Oliver Ford Davies (who is perfectly cast as Polonius - and is a scene-stealer), Patrick Stuart and Penny Downie. Now then, the decision to place the interval right at the "now might I do it, pat" speech was interesting and I'm not sure it worked particularly well - but I believe the Banquet/Banquo's Ghost scene was similarly interrupted during Stewart's 'Macbeth' in the West End last year. Yes, it's a long show - you sit down in those cramped Edwardian seats at 7.15pm and get up at 10.50pm - and some things aren't explained, including Hamlet's escape from England. Half of Friday night's audience would not have been missed (by me and many of the so-far uninfected other half) if they had stayed at home: their persistent coughing was absolutely dreadful and made it hard to hear some of the dialogue. Was Edward Bennett's singular 'cough' during a scene slightly tongue-in-cheek and a nod to the noise in the auditorium, I wonder?
STOP PRESS: David Tennant returned to the production on Saturday night (3rd).
- Andrew B
04 Jan 09
I was lucky enough to see this production in Stratford so have seen it with David Tennant. Seeing it in London, this time with Edward Bennett as the lead I can't help but compare performances which is unfair. Bennett gives an admirable performance as the Dane. He can't replicate the comedy which Tennant brings to the role but brings a more serious edge which is not out of place. I was with others who had not seen Tennant and liked Bennett's performance very much. The bedroom scene between Hamlet and Gertrude for me worked better this time, a greater sense of tender affection between the characters.
The ensemble acting again is strong with Oliver Ford Davies, Patrick Stewart et al delivering fine performances.
I felt the production didn't wholly suit the Novello stage when compared to the thrust Courtyard to which it is much more suited, but an enjoyable evening none the less. - Paul Wallis
03 Jan 09
This was my second Hamlet and my second understudy (after Ed Stoppard took a day off). Edward Bennett resembles Harold from ER and can't totally lose his geekiness for a sense of royalty, but this is a very creditable performance and it is clear he has had time to grow into the part. Patrick Stewart is unusually subdued as Claudius, perhaps aware that his is a supporting role, but Penny Downie is an excellent Gertrude, particularly during an electrifying closet scene, which also sees Bennett's best moments. Oliver Ford Davies fully grabs the opportunity to exploit all the humour from his brilliant Polonius. I'm not familiar enough with the text to spot many cuts, but the almost total absence of Fortinbras contributes to a slightly anticlimactic closing scene and I'm sure I missed some of Hamlet's ill-treatment of Ophelia (a marvellously deranged Mariah Gale). Greg Doran can always be relied on for an interesting and entertaining production but I am really looking forward to Michael Grandage's version at the Wyndham's - I just hope Jude Law turns up. - David Baxter
01 Jan 09
Who knew Hamlet was an ensemble piece? The understudy's involvement, means that unlike a star performer's interpretation, the audience are not just waiting for Hamlet to come back on. Penny Downie is a wonderful Gertrude and Oliver Ford Davies' Polonius is so wonderfully irritating that I'd have shot him too... - dgr1
23 Dec 08
Good grief, what's all the fuss about? This is a really mediocre production in a deadly dull setting, with surprisingly bad performances from a bunch of vying egos, all reading off different pages. Patrick Stewart goes for weird attention seeking while O.F.Davies does 'mellifluous' with a vengeance, and the women drop the poetry for a 'modern' approach. Some of the smaller roles are quite simply badly acted. I have never been bored at Hamlet before and the only saving grace was Edward Bennett's brave performance. Wake up Doran, the faults all lie with your lazy direction. - joesmith
22 Dec 08
I had seen this at Stratford too and much as I had wanted to see David Tennant again, I'm so pleased to have had the chance to see Edward Bennett in the role. I just wish I could see them both again.... - Sarah
19 Dec 08
I saw Hamlet in Stratford and thought the three and a half hours went by in a blink of an eye. The whole audience was captured in the palm of the play. ALL the actors & actresses where fantastic. First rate. Would like to see it with Ed Bennett in the title role too. xx - Sue C.
16 Dec 08
This production was totally brillant. I had an amazing time. David was amazing, he is such a talented actor and he did a mesmerising Hamlet. The rest of the cast were great too. - Yael Avivi
Opened 22 May 1905, originally the Waldorf, became the Strand in 1909 and the Whitney in 1911, back to the Strand in 1915. On 8 Oct 1940 the theatre was hit during a bombing raid - the show went on! There had been an earlier Strand Theatre where the Aldwych tube station now is that opened in 1832. 1061 seats. Member of the Society of London Theatre. On 25 March 2003 Delfont Mackintosh Theatres Limited, which had owned the freehold of the theatre since 1991, took over the management of the Strand from the Louis I Michaels Ltd Group of Companies when their lease expired. Delfont Mackintosh is now planning a 1.5 million refurbishment programme to restore the theatre to its former glory. May 2005 opened as Novello Theatre.
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