![]() ![]() Without mass of numbers, it did give the sense of an army on the move. For the initial scene of the second half – Fortinbras’s camp and Hamlet’s encounter with the soldier as he is led away to England – this worked well. After the interval, the shutter opened but to the same scene covered in rubble, dust and ashes. ![]() I’ve seen productions at the Barbican before, but never felt the size of the stage in this way. The scene opens on a single small room for the opening scene of Hamlet and Horatio (the appearance of the ghost just implied by a ‘who’s there?’), but then the back wall lifted up to open onto a huge set of a palace interior, but with a balcony and stairs down and doorways to larger spaces beyond. The Barbican doesn’t have a curtain, but a shutter. I didn’t find these a major distraction, and was intrigued by the staging. The production of Hamlet though has had some criticisms. ![]() I said a bit more about that in a brief review of the Classic Stage Company version starring Peter Sarsgaard I saw in New York earlier this year.Īs many reviews have noted, Cumberbatch himself was excellent, and I’m very pleased I saw it. This is so often sacrificed in stage productions, because of the difficulty in portraying some of those concerns. When I’ve talked about Hamlet for the Shakespeare project, I’ve said that one of the reasons I like the Kenneth Branagh film is its ability to give a sense of the much broader scale of the story, outside the claustrophobic court of Elsinore. It’s also being broadcast live-to-cinema on 15 October. There are some available on the day, and I saw quite a few people pick up returns. Tickets sold out very quickly, but occasionally returns become available and a bit of persistence paid off. Last Friday I went to see the Barbican’s production of Hamlet, directed by Lyndsey Turner, and starring Benedict Cumberbatch, Ciarán Hinds, Anastasia Hille, and Siân Brooke. ![]()
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