On arrival at Milton Keynes Theatre on Tuesday 1st March, 2011 for the evening performance of Shakespeare’s most famous play, Hamlet, I must confess I was initially concerned for two reasons.

My first concern was that the play was to be performed as a modern day production and my second concern was how the bard's longest play consisting of a total of 4024 lines would be edited down from its original performance time of over 4 hours to a more realistic 3 hours! I needn’t have worried on either count.

The modern production put an up-to-date spin on this ancient tale by setting it in modern day Denmark. Being a traditional ‘Bardodian’ I usually prefer to see performances in their classic realm. However, I was pleasantly surprised by Nicholas Hytner’s magnificent job of directing this fresh version which encouraged many new younger members of the audience which was a delight to see.

This, of course, has a lot to do with the brilliant performance by Rory Kinnear who played the lead as the troubled Prince of Denmark. His utterly convincing Hamlet made what can sometimes be viewed as a very long performance; go by in what seemed like the blink of an eye. Shakespeare once wrote ‘to thine’s own self be true’ and this can definitely be said of Mr Kinnear’s performance. Not only is it extremely difficult to learn and remember all of Hamlet’s lines (a total of 1495), but they have to be delivered with emotion and heart, something Mr Kinnear never lacked throughout this epic performance. What made it extra special was that he delivered humour exactly where Shakespeare intended it to have its darkest effect.

This of course was helped by an unfaltering supporting cast, such as Clare Higgings as an utterly convincing Gertrude whose tears flowed endlessly. I also loved her slow decline in to alcoholism convincing the audience of a very modern day salvation when dealing with a wayward son. David Calder was perfect as both Polonius and the gravedigger without the audience noticing or caring for that matter! Patrick Malahide’s portrayal of the villainous Claudius made a riveted audience desperate to see him finally get his just desserts. Finally there was Ruth Negga’s Ophelia’ whose fragility was in abundance for all to see and sympathise with.

What ended up being a performance of just over three hours was filled with such a good production that the audience hardly fidgeted let alone moved in their seats. So well done and roll on King Lear at MK Theatre on March 15, 2011.

I consider myself a great devotee of Milton Keynes Theatre and it pains me to say my only complaint was that the sound was not good for those beyond the stalls. This I heard mentioned several times at the interval. It is a shame because Shakespeare’s dialogue needs to be heard to be understood properly. Unfortunately the acoustics appear to be the only thing that lets our wonderful asset down.

Diane Merner, miltonkeynes.com

02/03/2011