Stafford Shakespeare presents: HAMLET

HAMLET: ‘Unmissable’

Stafford Gatehouse Theatre (to July 5)

Dir: Richard Cheshire

This could well be a one-word review: ‘Wow!’

As someone who has seen Shakespeare performed in the West End, Broadway and the RSC itself, it is frankly incredible that a provincial theatre can turn out a production of such high quality as this.

Put simply, this Hamlet wouldn’t look out of place in any capital city hotspot.

There’s been a huge buzz about this year’s Stafford Shakespeare in Staffordshire and beyond; Benedict Shaw’s face seems to have been staring out at us from every billboard, lamp-post and magazine cover for months.

And the production does not disappoint. For once, you can believe the hype – this is absolutely stunning.

Huge credit must go to director Richard Cheshire, whose sharp-eyed bravery has transformed what can be a long and heavy play into a two-hour thriller, perfectly paced for a modern audience.

Shaw, in the lead role, makes a triumphant return to his hometown in the theatre where he took his first steps on stage in youth theatre. That homecoming seems to have given him an extra edge to deliver a powerhouse performance as the troubled prince.

Just one of his achievements in this mesmerising portrayal is to make Hamlet relatable, even in such tumultuous circumstances. There’s a warmth and likeability about Shaw’s character that makes it easy for the audience the empathise with his plight, right from the start.

When he’s angry – and, oh boy, does he get angry – we understand why and share his passion for revenge. We’re on his side throughout, which is just as it should be.

He is backed superbly by Sean O’Callaghan’s Claudius (another Staffordshire actor) and Sean McKenzie as Polonius in particular, while Llinos Daniel is a captivating Gertrude, fractured and torn.

But strong performances abound in a show with high-end production values throughout.

There are one or two surprises along the way, but nothing to deter seasoned Shakespeare-watchers or anyone who just likes a stylish thriller, excellently told. If you see it, you’ll love it, as the standing ovation last night attested.

Often with Hamlet, the language is so well known, there’s a risk of cliché at every turn, but this unique production passes that up for something that wears originality on its sleeve and is unafraid to stand out from the crowd.

It’s dark and it’s daring. Brutal, but beautiful.

Most of all though, it’s absolutely unmissable.

***** (five stars)

By David Banner

Runs to Saturday, July 5.

Tickets from www.gatehousetheatre.co.uk

What’s On Magazine: ‘A true celebration of the region’s talent’

Stafford Gatehouse this week presents Shakespeare’s Hamlet – a tale of grief, deceit and overbrewed revenge. Benedict Shaw takes the title role – born-and-bred in Stafford, and having cut his teeth at the Gatehouse Youth Theatre, this production is something of a homecoming.

The Staffordian audience has welcomed their local lad back to the stage with open arms, and he has done them proud. Hamlet is a famously meaty role, with the character being stretched to emotional torment, occasional oedipal overtones, a climactic swordfight and even discourse with a troupe of travelling actors. Poor fella.

Shaw takes it all in his stride, and approaches the part with sensitivity, drawing fresh meaning from the oft-spoken speeches, and taking the character from subdued depression to energetic mania as the play, parallel with Hamlet’s psyche, descends into tragedy.

It all begins with Hamlet’s father – the previous king of Denmark – who died two months earlier. Hamlet’s mother Gertrude (Llinos Daniel) has since married Claudius (Sean O’Callaghan), the late King’s brother. But when a ghostly apparition of the old King appears, telling Hamlet that his death was far from natural, the fragile politics of the court starts to unravel. Something is rotten in the state of Denmark…

The production makes every beat of the story clear and accessible, with care taken to reveal the layered implications. The play contains some of Shakespeare’s most frequently quoted lines (‘To be or not to be’, for one) but the words don’t feel tired – clarity is the order of the day, and when Shaw soliloquizes to the audience, the text feels natural and spontaneous. This production has a fair few larger-than-life moments and amplified performances, all in the name of getting the point across.

The set and visual effects are well-designed, with atmospheric bookcases framing the stage. An early scene in near-total darkness features handheld torches, used to great effect and casting looming shadows on the walls. Set in the modern day, occasional important moments are captured on camera and projected across the stage – reminding the audience of the political situation, as Denmark teeters on the brink of war.

Two stand-out performances were Alex Wadham as Horatio – whose loyal, measured presence balanced Hamlet’s turmoil, with the pair’s close relationship subtly but surely visible on stage – and Sean McKenzie as Polonius. McKenzie gives humour and energy to a role that can otherwise be boorish and bumbling. He was drawing laughter from the audience even before his transformation into the comic Gravedigger – for which he was almost unrecognisable.

Much care has been poured into the production, which is a true celebration of the region’s talent – so it’s no surprise that the good people of Stafford were on their feet at the end of the show. There will surely be more standing ovations before the final curtain falls.

**** Four Stars

Hamlet was reviewed at Stafford Gatehouse Theatre on Thursday 26 June, where it shows until Saturday 5 July.

Neil Bonner: ‘Truly magnificent – not to be missed.’

Stafford’s council-run Gatehouse Theatre has regularly punched above its weight in the 30-plus years since it staged its first annual Shakespeare production. And this year’s offering is another knock-out event, an impressively accessible and totally absorbing rendition of one of the bard’s most challenging tragedies.

Lead actor Benedict Shaw is simply stunning in the title role, pitching his portrayal of the tortured prince to perfection, with carefully crafted soliloquies and nuanced expressions drawing the audience into his battles with madness and grief. His charisma and stage presence are mesmerising – and the fact that he’s a local lad and former member of the Gatehouse Youth Theatre is another feather in the theatre’s cap.

The set design is brilliant, allowing the innovative and imaginative sets to come and go instantly and efficiently, whilst the lighting creates dramatic atmosphere. All this, combined with a quality supporting cast makes this a truly magnificent production not to be missed.

By Neil Bonner

Starplus Features.

Yeah Lifestyle: ‘Brilliant from start to finish’

Every year Stafford Gatehouse’s Shakespeare Festival returns to mesmerise and surprise audience with their adaptation of The Bard’s plays and this year is no different.  Over the years, we have featured ROMEO + JULIET as well as TWELFTH NIGHT and this year, they have decided to showcase HAMLET, one of Shakespeare’s best-known and longest play.

It was full house at the theatre last night and the audience buzzing with excitement but as soon as the play started, it went dead silent.  I would say that the first 10-minutes of play is crucial, as it sets the stage for what is to come and the appearance of Ghost of Old Hamlet.

The play centres around Hamlet and the emotions he experiences when he finds out that his mother (Ilinos Daniel) has remarried his Uncle, Claudius (played by Sean O’Callaghan) not long after his father’s demise. His emotions are thrown into further turmoil when he sees his dead father’s Ghost, who tells him that he has been murdered by Claudius and asks Hamlet to avenge his death.

Hamlet decides to behave erratically making the others believe that he has gone mad. But alas, he genuinely is disturbed by his thoughts that he accidentally kills Polonius (the father of Ophelia, his girlfriend), thinking he was Claudius.  Ophelia (Amy Tara) is next found drowned when she realises that Hamlet has deserted her and her father is dead.  Laertes (played by Matthew Khan), Ophelia’s brother, soon returns from the war to avenge the death of his father and sister which leads to a well – rehearsed sword fight and more deaths, ending in tragedy.

The chemistry between O’Callaghan and well as Daniel was wonderful and their professionalism shone throughout the play.  I totally enjoyed watching both Matthew Khan and Amy Tara who executed their characters to perfection. My favourite has to be Sean McKenzie who plays Polonius, as he had the ability to create pockets of joy and laughter making the dark themed play palatable. While Alex Wadham who plays Horatio is such a memorable character.

It goes without saying that the star of the show was Benedict Shaw who plays Hamlet, the Prince of Denmark, as he was not only noteworthy but utterly believable.  He is such a charismatic actor and has the ability to draw the audience into his world and showcase the different moments of madness and vulnerability of Hamlet with such ease.

I loved seeing the stage converted into an extraordinary setting where the light danced with haunting music by Lucas Elliott to create layers of illusion, showcasing the scene changes.  The Set Design was uniquely designed by Patrick Connellan with the theme of death, words, books and ideas. The 3D Bookcases hung from the ceiling and looked as if they floated on stage and swung around as they moved.  The bookcases acted as a wall, backdrop and interactive prop, hence moveable and became part of the play. The addition of the video projection gave depth to the moment.

If you love all things Hamlet and have watched it numerous times over the years, let me assure you that this production is brilliant from start to finish and you will find that this show will be your favourite version of it!

Let me end with a quote from the play, “Goodnight , Sweet Prince and Flights of Angels Sing Thee To Thy Rest!”

By Asha Carlos

Rick Lane: ‘A must-see production’

Pardon me for waxing lyrical, but I believe a new star now twinkles in the theatrical firmament.

Benedict Shaw’s performance in the eponymous role at this year’s Stafford Gatehouse Shakespeare Production, is nothing less than masterful. I overheard an audience member at the Gala performance say that Benedict drew his performance from David Tennant and indeed, not only are there physical comparisons in appearance to be made, but also in quality and range of acting.

The local boy made good has made many appearances nationwide, including at the New Vic Theatre in Newcastle and appearances on television including Emmerdale and Hollyoaks.

It is this performance as Hamlet, his most prestigious performance thus far, that will surely catapult him into the top echelons of the acting profession.  It most surely deserves to.

Hamlet is of course one of the Bard’s tragedies and there is certainly plenty of that to be had. There are however three stand out comic performances in Director Richard Cheshire’s magnificent production. More of which later.

Sean O’Callaghan struts the stage like a colossus as Claudius, the murderer of Hamlet’s father and also doubles with a terrifying performance as the ghost of Hamlet’s father. Llinos Daniel meanwhile gives a well measured playing of Gertrude – Hamlet’s mother, who falls all too readily to the charms of Claudius for Hamlet’s liking.

With a wealth of experience behind him, Sean McKenzie gives good account as Polonius, the father of Hamlet’s love interest Ophelia and her brother Laertes, deftly played by Amy Tara and Matthew Khan.

When at the height of his madness, caused by his encounter with his father’s ghost, Hamlet stabs Polonius to death behind the proverbial arras.

Now back as promised to those comic moments. Benedict superbly demonstrates his range with some finely observed comedy during his descent into madness speech, whilst Matthew Khan and Lucinda Freeburn are a wonderful comedy double act as Rosencrantz and Guildernstern.

Lucinda also delights with some beautiful violin playing. The top comic accolades however go to Sean McKenzie as the grave digger whilst digging Ophelia’s grave.

If you have never seen Shakespeare, this must-see production of Hamlet would be an excellent introduction.

Rick Lane,  Freelance journalist

The Theatre Twittic: ‘A gripping production’ 

Writer: William Shakespeare

Director: Richard Cheshire

It’s been 17 years since Stafford Gatehouse produced Hamlet for it’s Shakespeare Festival, this year starring local Benedict Shaw as the starring role. The Gatehouse Theatre has shaken up the annual production, not just producing its first trategy since Freedom Leisure moved the festival indoors, but also shines a light on a lot of local talent.

After directing the theatres’ pantomime for the last couple of years, Richard Cheshire takes the helm to direct. Cheshire joins the language, with a number of traditional techniques, while blending that with some modernist touches – notably through costume design by Patrick Connellam and the use of both recorded and love video by Bethany Thompson. It creates a bold, compelling production that grips you throughout.

Connellan also creates the set for the production. Three tall bookcases tower the stage pivoting into different angles and positions creating different levels of dephs to the stage; from the confines of a chapel to a grand bedroom. With the hints of silver within the bookcases and a rotting brass frame at the centre of the stage, it gives a feeling of both grandeur and eeriness. Barry Smith’s hazy lighting reflects off the metalic set to create a visually stark production.

The use of Thompson’s video is clever, capturing key moments and reactions while adding unique context for this production too – notably when Claudius and Polinious watch over Hamlet talking to Ophelia following ‘To be or not to be’ and a cough causes Hamlet to realise he is being watched. This added context creates not just a realisation of Ophelia’s betrayal of Hamlet’s trust but also a sudden realisation he must perform to the madness he’s labelled as.

Benedict Shaw’s Hamlet starts as a somewhat recluse, wanting to stand up for what’s right yet not quite finding his voice to do it. It is instead the betrayal by many of those around him and an intense study of how the King Player portrays emotion through performance does his own quest to avenge his father’s death become more tactical.

This continues into Act Two, where Hamlet’s where the motive switches instead to internal rage and sense of powerlessness which start to tear him apart, showing how internal anger, rather than madness, can swallow up and destroy someone. It’s a refreshing take on Shakespeare’s most famous tragedy.

Standing loyal to Hamlet is Alex Wadham’s Horatio. Light-hearted and loyal, the warmth between Wadham and Shaw is a compelling connection that continues and creates a moving closing moment.

On the opposite side, you have Sean O’Callaghan as Claudius, pompous and cocksure, O’Callaghan treds a fine light between deliberate gloating and a persona of care.

Luca’s Elliot’s music is mostly used to keep tension between scene changes. While it would have been beneficial to enhance the lengh of the music to fully cover set changes completely, it is nonetheless, very complementary to the production.

Running at just over 2.5 hours including interval, this compact and tense production gets you hooked. Featuring an epic swordfighting finale and an all round talented company, this is a fine example of why Staffordshire is known as the creative county.

⭐⭐⭐⭐
Rating: 4 out of 5

A gripping production, priced at £34 (£28.50 concessions available)

www.thetheatretwittic.com