By the time Laurence Olivier became the first artistic director of Chichester Festival Theatre in 1962, he was already acclaimed for his portrayals of Hamlet on stage and screen. Yet, remarkably, Chichester had never produced its own version of Shakespeare’s “the Danish play” — until now. This year, under the direction of Justin Audibert, who assumed the artistic helm in 2023, the theatre presents its inaugural home-grown “Hamlet,” starring Giles Terera in the title role.

Audibert’s production, staged at the intimate Minerva Theatre, eschews the high-concept trends that have characterised recent Hamlets set amid maritime scenes or overlaid with contemporary soundtracks. Instead, it offers a clear, unhurried tragedy that allows audiences to delve deeply into the prince’s psychological torment. Terera’s powerful interpretation captures the solitude and intensity of Hamlet’s soliloquies, with the theatre’s close quarters amplifying the precision of his expressions. One striking moment sees the lights rise gently during the iconic “To be or not to be” soliloquy, Terera’s eyes softly closing on “perchance to dream” before he is abruptly pulled back, reinforcing the prince’s internal struggle.

The production’s visual and auditory elements create a palpable atmosphere of decay and tension. Designer Lily Arnold paints Elsinore with a palette dominated by murky greens and metallic hues, evoking a sense of rot permeating the royal residence. The split-level stage highlights the castle’s tarnished walls, with the crown presented under a cold spotlight on a cushion — stripped of all its shine, symbolising the frailty of power. Sound designer Ed Clarke complements this imagery with disquieting effects — the metallic groans and creaks conjure an unsettling ambiance, while the ghost’s “swear!” crashes like thunder, heralding supernatural menace. Arnold’s rocky coastline set beyond the stage serves as a reminder of looming external threats, enhancing the sense of political instability.

Lighting designer Ryan Day draws from Hamlet’s metaphorical “inky cloak,” enveloping many court figures in shadow and emphasising the secretive, conspiratorial atmosphere. Claudius, played by Ariyon Bakare, receives his crown directly from Sara Powell’s Gertrude in a ceremony bathed in candlelight, followed by a sycophantic council that underscored the corrupt environment. Across these scenes, Terera simmers with restrained rage and melancholy, his performance portraying Hamlet as a man haunted not only by personal loss but also by the broader political decay and violence around him.

The casting choices deepen the production’s sense of psychological complexity. With Terera aged 48 and Bakare not much older, their characters’ rivalry for Gertrude’s favour gains a new intensity and immediacy. Eve Ponsonby offers a mature Ophelia, her youth arrested and confined within the castle’s rust-hued walls — a visual metaphor enhanced by her green attire and red hair. This depiction adds a layer of tragedy to her character’s infantilisation and repression, especially under the harsh eye of Keir Charles’s Polonius, who asserts his authority through physical control and verbal chastisement. Bakare’s Claudius exudes a slow-burning malevolence, notably embodied in his trembling right hand hidden beneath a glove, symbolising the guilt and foreshadowed divine retribution for his murderous ascent to power. Meanwhile, Powell’s Gertrude is portrayed as a woman deeply wracked by guilt, potentially aware as she drinks what may be poison.

At three and a half hours, the play’s pace occasionally falters, but the robust performances and Audibert’s sensitive direction sustain engagement throughout. Sam Swann’s Horatio provides a steady, grounded presence, while Beatie Edney brings earthy humour as the gravedigger. Audibert, formerly artistic director of the Unicorn theatre and experienced in children’s theatre, demonstrates an acute awareness of the Minerva’s intimate setting. He cleverly uses Claudius’s prayer scene to pause the action before the interval, a choice that builds suspense and likely reflects an understanding that many audience members may be newcomers to the play. This “Hamlet” stands as a commanding debut for Chichester’s long-awaited venture into Shakespeare’s masterpiece, marrying classical respect with contemporary relevance.

According to the Chichester Festival Theatre’s announcement, the production runs from 6 September to 4 October 2025. Audibert has described the role of Hamlet as the “Mount Olympus of acting challenges,” seeking to shape the play as a thriller that keeps audiences engaged while exploring the depth of its tragedy. This approach, paired with Terera’s compelling lead performance and the production’s atmospheric design, makes for an enriching theatrical experience distinctive for its blend of intimacy and political urgency.

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Source: Noah Wire Services