Hamlet (2023) review: No tragedies here, just a two-hour treat

So for the third time in a not-too-shabby career, Sir Ian McKellen takes on the role of arguably Shakespeare‘s most famous creation, Hamlet. But completing the hat-trick is this production with a difference, and that’s not just down to the fact that it’s going on cinematic release for one night only later this month.

Directed by Sean Mathias, the whole thing was shot at the Theatre Royal, Windsor, and it looks as if every corner of every room at the venue has been put to use. There’s so many, in fact, you wonder if they ran out and had to look elsewhere.

But they didn’t, and that’s also true of the stellar cast, who were all there for the live stage run of 2021. Things do come dangerously close to being a little too self-indulgent from time to time, but players to the rescue! They manage to keep this particular pitfall at bay, making this play-within-a-movie an enjoyable watch – although some of the cast will surely have enjoyed it more. This being filmed in a theatre, there’s a unique kind of creative licence to run with.

Combined with the Shakespearian dialogue being diluted a little, this benefits a reimagining that’s bound to add fuel to the debates between film and stage even further. In particular, Ophelia, played by Alis Wyn-Davis, displays a more frail, human side, and is able to convey more emotion and sense of despair. The whole cast are more earthy and believable, and seem to straddle the line between classical thespianism and contemporary acting quite effortlessly. As for Sir Ian, why wouldn’t he be having a whale of a time in such a unique interpretation of one of his most famous roles?

This will probably fail to strike a chord with many traditionalists and Shakespeare-phobes alike, but the Bard would be proud. There’s actually a bittersweet aspect to it all, as this Hamlet was produced by the late Bill Kenwright and his BK company. His widow, Jenny Seagrove, is also in the play, adding real poignancy to proceedings. No doubt the dear-departed Everton Chairman will also be proud looking down.

A special mention must go to the always highly watchable Steven Berkoff. As Polonius, Ophelia’s father and Hamlet’s biggest critic, he almost steals the show from McKellen’s Hamlet. Yet another celebrated veteran of stage and screen, Frances Barber, injects a hefty dose of her own brand of mischievous mystique to the part of The Player King. It’s just a shame that she and Berkoff aren’t on screen for longer.

What’s not a shame, and it will pain some people to read this (but hard luck), is how the play’s length has been shortened. The fact that Barber delivers her key speech in front of the safety curtain will no doubt have significance to aficionados of the traditional, longer prose, but we can all appreciate the comedy genius of McKellen’s Hamlet on an exercise bike. Who would’ve dared imagine that when he first took on the role way back in 1971?

And whatever you do, don’t let the fact that you’ll be watching an octogenarian playing a thirty-year-old prince put you off – it just further enshrines the sheer bravery and devil-may-care spirit of it all. The date for your diary is Tuesday, February 27, and following the screening at whichever cinema you happen to be at is a special Q&A with McKellen and Mathias. A fitting end.