NOTE: I have never seen Hamlet – Five Hours

It’s very strange for me to have watched two Shakespeare plays in one week, both with wildly different approaches.

Hamlet – One Hour, directed by Jo Marsh, is a futuristic dystopian take on the classic Shakesperean tragedy. The modernisation of the show is largely in its excellent projection craft, rather than any change in the old language.

I’m not going to pretend to know what the original Hamlet was about, but this take has scenes re-interpreted through a technological lens that I’m pretty sure Shakespeare wouldn’t have had access to back in the day. Instead of characters hiding behind doors ajar, they are muted and blanked in video calls, every spying on the characters. This constant online-ness recontextualises the original’s themes of madness and betrayal as constant paranoia and conspiracy, where noone is safe from ever-growing surveillance.

To really sell this vibe, the stage is decked out with carefully placed projector screens that perfectly frame the multiple camera shots, video calls and other projections that push the narrative forward. Up in the booth, Emma Maguire, ensures that transitions are smooth, slick, and completely immersive.

The main thing to remember here is that there are only three actors in a play that requires up to five speaking roles on-stage at any given time. The projections solve this problem by having perfectly timed videos of pre-recorded Zoom calls that the on-stage performers interact with. I was incredibly impressed with the timing and execution of this. There was never any dead air or mistimings; a testament to the rehearsal that must have gone into it. Actors will swap out coloured scarfs to quickly denote with character they’re playing, denoted by colour for allegiance and style of wear for character. It’s a great system that never leaves the audience feeling confused.

On-stage, Shaun Swain takes the lead as a rambunctious and vulnerable Hamlet. They hold a wild energy that evokes a sense of youth against the ever-encroaching backdrop of surveillance that suffocates them. This is complemented by their lithe movements around the stage, reminding us that Hamlet is woefully untrained for the challenges ahead. Helen Vivienne Fletcher is a charismatic joy, which comes in a multitude of forms, depending on what character she’s playing. She is always enjoying herself and connecting deeply with both her co-performers and the audience. Her eyes are constantly active, seeking to sell her characters just on the way they look at others alone. Hamish Boyle pulls quintuple-plus duty as a wide range of very different characters. Each one appears to have a different accent and even gait, showcasing the breadth of his acting chops. There is never a question of which character is being played, even when they’re talking to each other via the video chat on the diamond screens.

Together, the three work really well together, developing a depth of chemistry that fizzes no matter which characters are playing off each other. This doesn’t let up until the thrilling conclusion that results in the classic kind of tragedy that Shakespeare is known for. It’s clear that the smallness of the cast works to its advantage, as it builds so much trust between them. They clearly enjoy playing with each other.

Hamlet – One Hour is a great, snappy show that stands on its own two feet. It trusts its audience with the language, and invites them to draw their own interpretations of its Dystopian setting. Jo Marsh has put together a polished, thought-provoking piece of theatre and Denmark will never be the same.

Disclosure: As a somewhat active member of the Wellington performing arts community, I may be familiar with a number of the performers in this show.
Having said that, I am not a liar, and there is zero bias in my reviews, shut up.

Also, tickets were provided to me for free by the production. Literally changes nothing, though.