With Fiona Laird’s accomplished direction and an astounding performance from Mark Lockyer, this solo production of Shakespeare’s masterpiece cannot fail to impress.
Lockyer is a supremely skilled, technically accomplished and hugely charismatic actor, so the quality of his performance is a joy. It is a marvel to see him switch roles and to note how clear the plot remains. Just think of the work behind this version – in itself an inspiring story.
Laird’s idea for the project apparently began during lockdown, with a reflection on how much time many of us spent alone. Lockyer’s own battle with mental health is, surely, another factor. But it is with a light touch that these painful experiences combine into an insightful version of the play.
Why do we praise an actor? Usually, it’s down to a combination of their knowledge of the character they take and how they show that person relating to others. Here, every role has to be considered. Each is intense in its own way and the relationships between the various personalities are rendered with startling clarity.
Simply, Lockyer is great in every part. In the title role he is understated, one of the saner Danes. There’s no fanfare about his entrance (a move I always prefer) and it is clear he loves Ophelia. Laertes shares this affection, while being a suitably virile counterpoint to the prince. While there are moments of struggle with the female roles, the older male ones are superb: this is a brilliant Polonios, dignified as well as funny, while Claudius is the epitome of tortured cunning.
This is a stripped-back Hamlet. There are no props (not even a skull) and, while Tim Mitchell’s excellent lighting design helps, it really is Lockyer alone on a stage. How it all works is magical. While there is, understandably, less to look at, action in the plot is emphasised and, as a consequence, excitement secured – Fortinbras and his army loom large and (great touch) Hamlet is handcuffed on his way to England. Laird’s edit of the text is brilliant. No characters or story are cut and any lines omitted make sense. One notable absence is Hamlet’s advice to the players, which seems particularly appropriate. A speech about how to act just isn’t needed here.
Until 12 April 2025