Opera Australia has led a daring program this year and their production of the relatively newly written operatic adaptation of Shakespeare’s Hamlet is no exception to this. With such a well-known play as its source material, the obvious question immediately arises as to whether an adaptation is worthwhile or whether it merely seeks to traverse the ground of the original in a less effective way. In this regard, there is no doubt that composer Brett Dean and librettist Matthew Jocelyn treat their source material in a radically different manner, and while not every risk pays off, it certainly results in an enthralling watch. 

The story of Hamlet needs no introduction but the biggest difference between Shakespeare’s original work and this production (apart from the obvious change in form) is the treatment of chronology. Dean and Jocelyn’s work still features all the bare bones and characters that make up the original Hamlet but begins with a portion (that remains incomplete throughout the production) of the famous “to be or not be” speech, shifting fragments of lines around the characters. Combined with the cramped staging necessitated by the smaller space that the Joan Sutherland Theatre affords compared to other opera houses around the world, this is used to create a sense of claustrophobia which pervades across the production. 

In this regard, in a pre-show event, Dean said to the audience that he hoped they enjoyed the show before quickly correcting himself, saying “well actually, I’m not sure if enjoy is the right word.” Although an off-hand quip, it becomes clear that this is in fact the most appropriate way to view this production. It is not a production to necessarily be enjoyed but rather, one to be experienced with feelings of visceral discomfort intentionally induced by the production team.  

What makes this production is the strength of the cast, which has been expertly assembled by Director Neil Armfield. Allan Clayton, playing the titular role likely for the final time, is extraordinary, bringing a vocal richness to the role that truly enhances the production. While his portrayal of Hamlet perhaps introduces his character’s descent into madness a little too early, Clayton is the showstopper of this production and brings a quality that very few around the world can match. 

Lorina Gore is also outstanding as Ophelia, bringing a rawness to the very vocally demanding role that lies in stark contrast to the rest of the production. Nicholas Jones is an exceptional Laertes, with world-class vocals in a challenging production. Jud Arthur is also fantastic as Old Hamlet’s Ghost as are the pair of Rosencrantz and Guildenstern, played by Russell Harcourt and Christopher Lowrey.

While the passion that the production evokes is outstanding, the music arguably does not quite match its strength. The feel of claustrophobia extends to the score, which, while exceptionally played by the Opera Australia orchestra, does not give enough space for the sound to settle and breathe, resulting in a harshness that extends beyond the desired effect. Additionally, Dean plays with style a little too frequently with references to everything from the Baroque period (the countertenors of Rosencrantz and Guildenstern) to the late Romatic/modern extended vocal sounds and experimentation with tonality. The result is a pastiche of sound which, while exhilarating at times, can become exhausting over the 3 and a half hour run time. 

To this point, the show feels as though it needs a second interval given the density of what is on stage. While this could have interrupted the flow, it would have perhaps been better to have a slightly more defined structure as this would have delineated natural breaking points that could have been utilised to maintain the focus of the audience. 

Overall, this is a show that is bold and daring but ultimately feels a little frantic in its movement, both musically and dramatically. The cast is exceptional and to a large degree, the production still pays off but it feels as though a little more space would have enhanced this production immensely. With that said, given the experience the production provides, this is still an exciting watch for fans of the original play and opera lovers alike and the production team should be commended for their experimentation, even if not everything perfectly lines up. 

Rating: ★★★★

Hamlet plays at the Joan Sutherland Theatre until 9^th August. For more information click here. 

Photo credits: Keith Saunders