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Time Out
08-05-2025
- Entertainment
- Time Out
Review: ‘Hamlet Hail to the Thief' at Factory International Manchester
Time Out doesn't as a rule review shows that aren't in London. But I am so aggressively smack bang in the centre of the Venn diagram of 'people who like Shakespeare's 1599 play Hamlet ' and 'people who like Radiohead's 2003 album Hail to the Thief ' that when the opportunity to attend the Manchester opening night of the stage mash-up Hamlet Hail to the Thief came up I felt obliged to go. When I asked my editor's permission he simply grunted bestially, a clear yes. To bring you up to speed, the RSC/Factory International co-production was devised by a creative team headed by co-directors Christine Jones and Steven Hoggett and Radiohead's Thom Yorke. Hamlet Hail to the Thief is essentially a truncated and rearranged version of Hamlet that makes heavy use of the music – often heavily reworked – of Radiohead's sixth album, as played by a live band (not Radiohead). Why? I don't really know! Radiohead's music is paranoid and existential and in that sense band and play are a solid match. But it never seems obvious why this album, beyond a programme note that states Jones had the idea when she saw the band on the Hail to the Thief tour. I believe every song from the record is included in some form or other, but that just makes it more perplexing: the likes of 'A Punch Up At A Wedding', ' Myxomatosis' and 'A Wolf at the Door' are reduced to (quite pleasant) instrumental riffs that suggest it was deemed conceptually important to cram every track in. But was it, really? What it's definitely not is Hail to the Thief! The Hamlet Musica l: most of the songs aren't performed by the cast, but rather singers Ed Begley and Megan Hill, and none of the tracks get complete, uncut run throughs – even the album's majestic top five hit 'There There' is played largely instrumentally and divided into two sections, with the intro, verse and chorus deployed early on and the frenzied outro spun off and used for the scene in which Samuel Blenkin's dishevelled Hamlet contemplates murdering Paul Hilton's at-prayer Claudius. (I suspect the record's comparative obscurity is a factor in choosing it - maybe Hamlet OK Computer would be in danger of inducing mass singalongs and audiences might be more annoyed if some of the songs were breezed through). Flipping things around, it's not entirely obvious what Hamlet is gaining from any of this: I'm not talking about the songs here, but being performed in a truncated version embellished with some Hoggettian choreographic sequences – it's a greatly shortened take on a play that realistically needs another hour (if not two) to really cook. But but but – if you don't get bogged down in asking 'why?' and just accept that 'it is' then Hamlet Hail to the Thief is pretty cool. Some of the songs or song fragments undoubtedly work very well: virtually the only line of 'There There' to be saved is the deeply poignant chorus 'just because you feel it, doesn't mean it's there', which does feel like a pithy encapsulation of the play's entire theme; the heady 'Where You End And I Begin' gives some extra heft to the romance between Blenkin's Hamlet and Ami Tredrea's Ophelia; 'Sail to the Moon' and 'Scatterbrain' are actually successfully integrated as musical-style numbers sung by end-of-their-tethers Ophelia and Hamlet respectively; that bit at the end of 'Sit Down Stand Up' where Yorke sings 'the raindrops, the raindrops' over furious glitchcore is just awesome and deftly spun off as the soundtrack to Hamlet and Laertes's climatic duel. The songs are smartly used to make the protagonist's relationship with Ophelia more substantial, but I was never clear why he turns on her. I was fairly uncertain as to whether Hamlet was even trying to take revenge on his stepfather Claudius: his accidental stabbing of Tom Peters's strait-laced Polonius is made to look like a genuine total mishap. There is simply no time in this production to establish whether Hamlet really is mad and what precisely his plans are after encountering his father's ghost. Still, there's some very cool stuff thrown up by the process. 'To be or not to be' isn't delivered as a soliloquy but as a cracked monologue by Hamlet as he menacingly advances on a disconcerted Ophelia; later she reprises the existential rumination as her own mind starts to fray. There is, on the whole, an agreeably nightmarish quality to the whole thing: on an inky stage where everyone wears black and with minimum props beyond a scattering of amps, it almost feels like the music becomes the bleak scenery, not just the songs proper but the ever present snarls of feedback and icy drones. Ultimately this is a quixotic endeavour – it is almost inconceivable that an old Radiohead album might offer some deeper key to unlocking Hamlet than, say, a really good three-and-a-half hour production of Hamlet. As much as anything else, the famously lengthy play and relatively short album are simply out of joint with each other. And yet as a weird idea that was never going to 'work', I enjoyed it, not just because I like the songs and I like the play, but because in the broken remnants of Shakespeare and Radiohead that it serves up, it's possible to see an imperfect but compelling new thing. Hamlet Hail to the Thief doesn't entirely make sense, but it is haunting, a journey into human darkness that's more visceral than articulated.
BBC News
25-04-2025
- Entertainment
- BBC News
Inside the fortress that inspired Hamlet
As Radiohead and the RSC launch an innovative reinterpretation of Hamlet, a visit to the play's setting in Denmark brings a new dimension to the tragedy. There's a cold wind blowing from the Øresund Sound as I stand on a platform in front of Kronborg Castle in Helsingør, Denmark, looking out to Sweden. At one end of the platform, a pillar-box red guard post stands beside a row of impressive cannons facing the strait. I'm not here for the view though: I'm looking for ghosts. This windy spot is the exact location for the opening scene of Hamlet, Shakespeare's best-known tragedy. Here, two guards, Francisco and Bernardo, switch posts in the middle of the night and speak of the ghost of Hamlet's father. The castle behind me, a grand Renaissance pile built in 1574 complete with fairytale turrets, a moat and a grand banqueting hall, is where the rest of the lurid drama unfolds. This year, the Royal Shakespeare Company is presenting no fewer than three variations on the story: a radical adaptation using Radiohead's album Hail to the Thief as its score (from 27 April); Fat Ham, a comic tragedy that transplants Hamlet's story into the Deep South (from 15 August); and a traditional take in Rupert Goold's production starring Luke Thallon (from 8 February). For context, the last time the RSC staged Hamlet was back in 2006. "There's something in the air right now saying that the play has resonance," says Tamara Harvey, co-artistic director at the RSC, noting that all three producers had approached the RSC to stage their productions in the same year. As a play that deals with themes of generational differences and changing world orders, not to mention the sense that "there's something rotten in the state of Denmark" – the idea that society's foundations no longer feel secure – it's hard to miss its appeal. Today, nothing looks rotten in Helsingør – the modern-day name for Shakespeare's town of Elsinore. The sky is blue and the sun is glinting off a gold flag flying at the top of one of the turrets. I'm on a tour with castle host Louise Older Steffensen to uncover Kronborg's Hamlet connections. Our feet echo as we walk around the stone corridors and into the grand ballroom with its chequerboard floor and soaring wooden ceiling, as she tells me there is no evidence that Shakespeare ever visited Kronborg – but he certainly knew it well. "We have contracts that tell us that Shakespeare's colleagues visited the castle," she says. "We know that the actors Thomas Pope, George Bryan and William Kempe were here for a season, performing plays for the Danish king. When they returned to England, they set up the Lord Chamberlain's Men, Shakespeare's company." They may have brought back tales of what happened within its walls. A distinctive celebration is mentioned in the play: a toast followed by the bang of a kettle drum, a trumpet, and a cannon – and it comes from a tradition followed in the castle at that time. In a dimly lit room next to the ballroom, the tapestries from that era are on display, their gilded threads depicting mythologised kings. Long curtains hang around the queen's bedchamber and around the castle, softening the sandstone walls, dampening sound and making it a fraction warmer – as well as providing opportunities for dramatic intrigue. Visiting the castle feels like being immersed in the play, walking down the large gallery where the silk dresses of the ladies-in-waiting would have rustled into its beautifully preserved church. It's as if the play itself has come to life, and the castle plays up to that theatricality. In the summer, special tours invite guests to participate in Hamlet-inspired murder mystery-style tours, and in the autumn, Hallowe'en tours take place in the creepy basements. Nobody, to date, has seen the ghost of Hamlet's father – but there have been other ghostly sightings, according to Steffensen and assorted castle guides. More clues about the importance of this castle to Shakespeare emerge as Steffensen gives me a history lesson. James I married Denmark's teenage princess, Anne, in 1589. When Queen Elizabeth I died in 1603 and King James ascended to the throne, England had a Danish queen. "The first quarto – written very early in 1603 – is set in Denmark," said Steffensen, "but there are no specific locations in it. After Anne becomes Queen of England, we get references to the castle itself." King James became the patron of Shakespeare's company and their name changed from "The Lord Chamberlain's Men" to "The King's Men" in 1603. Queen Anne's castle in Denmark became an important location for the royal family and thus gained a starring role in the play. We climb to the top of the cannon tower, a large flat space in a corner of the castle. Views reach across the moat to the yellow barracks buildings around it and to the town beyond. It's in one of these barracks buildings, the former infirmary that is now the headquarters of the town's Shakespeare Festival, where I find out more about the legacy of Hamlet in Helsingør. Lars Romann Engel, CEO and artistic director of HamletScenen, the castle's professional theatre body, welcomes me into a hallway-cum-gallery of Hamlet actors through the decades. In a who's who of Hamlets, black and white headshots of Jude Law, Kenneth Branagh, Sir John Gielgud, Derek Jacobi, David Tennant, Richard Burton and Christopher Plummer cover the walls and stairwell. Hamlet played a part in reinventing this town into a cultural hub after its shipbuilding industry collapsed in the 1980s, as the municipality devised a way to create a producing theatre at the Unesco-listed castle. Engel set up the town's Shakespeare festival, which takes place at the castle every August, showing adaptations of Hamlet in many guises; previous shows have included Spaghetti Western versions, dark German variants by experimental theatre Schaubüne and a sell-out staging starring Jude Law. As well as Hamlet, the festival typically also produces a lighter Shakespeare work, often with music and other events. Both plays are performed in the open air with the castle as a backdrop; tickets book out a long way in advance and the audience typically shows up with a picnic. More like this:• Nordhavn: The Danish 'city' that's been designed for an easy life• Denmark's surf town where old-school fishermen and surfers live in harmony• Copenhagen's 'CopenPay' scheme rewards tourists – but does it actually work? A trained theatre director himself, Engel directed a very successful adaptation of Hamlet in 2008, set in the castle's courtyard with tumbledown walls and crumbling masonry – starring a young Claes Bang as Rosenkrantz – and, after a mutual decision with the local municipality, set up the festival following its success. He has been running and directing the event for the past 17 years. "When you see Hamlet here, you know that you enter the myth," said Engel. "Now you are at the epicentre of it all. It's a special thing: it was actually here that it was written for." Engel takes me on a tour of some of the other barracks buildings, ending in the Lapidarium, the sculpture storage room of the castle, where a full-size sculpture of Shakespeare sits beside a sleeping Viking warrior, Holger Danske. Danske is another significant figure for the castle: according to legend, when Denmark needs him, he'll wake up and come to its aid. A reproduction of this original model lurks in the gloom of the castle cellars. Engel is in the throes of arranging this year's festival, which will take place 6-24 August and feature both Twelfth Night and Hamlet, performed by The Lord Chamberlain's Men, who take a classical Elizabethan approach to the works and perform with an all-male cast. "This year we've taken a more classical approach," said Engel, "because right now the world is edgy. When we are a little afraid, we don't like it to be upside down and we want it to be more as we know it." In testament to the endless ways the play can be reinvented, however, Engel also plans to put on Eddie Izzard's one-person Hamlet at the stage this year. It's often said that every minute of every day, Hamlet is being performed somewhere in the world. Shakespeare's most popular play in his lifetime has an afterlife, 425 years later, that surpasses all expectations. "It's one of the greatest pieces of writing in the English language, dealing with the very nature of human existence," says Harvey. "A play wrangling with this fundamental issue with such complexity is always going to mean different things to different people." Visiting Kronborg Castle, experiencing the "set" of the play in real life, certainly brings it to life. As I exit the castle, crossing the bridge over the moat, past the guardhouse to the grass fortifications around the castle, the sounds of marching feet echo through the sound system. I'm back in the world of the play, at the end of Hamlet, joining the march where the prince's body is taken away. -- For more Travel stories from the BBC, follow us on Facebook, X and Instagram.
