Hamlet is known across the globe as one of William Shakespeare’s most well known plays, and this year Ian McKellen and Peter Schaufuss collaborated on this work to create a whole new concept of what we have previously known Hamlet to be. Continuing to follow the traditional narrative of the play, this reimagining of it uses dance and performance art to explore the famous tragedy. Alongside the dance, the crowds definitely are drawn in by the fact that the legend Ian McKellen shadows the titular character with his booming tones and impeccable recital of Shakespeare’s words.
I have read a lot of reviews and have spoken with several people about this performance, with extremely mixed opinions – but I want to express how this performance was, as objectively as I can. As a Shakespeare lover, and an experimental enthusiast, I was drawn in from the onset. That being said, I know Hamlet as a play very well, and I think that enhanced my experience greatly. As a word of advice, I would recommend anyone seeing this play (or any experimental Shakespeare) to get themselves clued up on the plot before they see it, or it may not have the same impact.
Ian McKellen served as the voice of Hamlet, who was enigmatically performed by Johan Christensen. The contrast between these two characters was interesting and it was helpful that they were in the same costume, otherwise you may have wondered if McKellen was supposed to a paternal figure instead. Their connection was really beautiful to watch, and although McKellen is no dancer, his soft touch and omnipresent presence was effective.
Although much of the dancing was predictable in style – this was immensely effective, as it allowed for the audience to actually understand was going on! The was beauty managed to be captured in this notoriously grizzly and dark play and The Schauffus Company held a strong synergy between each other that allowed for moments of grief, hysteria, love and longing and subtle humour.
The overall aesthetic design of the performance was clever, with interesting projections on a chainmail backdrop, simple clean yet gothic costumes and a set that was in the round, allowing for a diversity of spectatorship.
It was a real treat being able to see McKellen do what he does best, but without him as a selling point, I don’t think Hamlet would have really packed the punch that it did. The Fringe Festival is a place to experiment and as experiments go, it was a success but could benefit from subtle reworkings in the nuances of the choreography. I did not come away disappointed, and I would urge Shakespeare’s fans to get tickets for this new and exciting reimagining of a classic.
Get tickets for ‘Hamlet’ below:
https://tickets.edfringe.com/whats-on/hamlet-with-ian-mckellen
Theatre Scotland 
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