Starring Alexander Vlahos, Miles Richardson, Tracey Childs, Terry Molloy, Daniel Brocklebank, Deirdre Mullins, Samuel Barnett, Jolyon Westhorpe, Geoffrey Breton, Barnaby Edwards, Youssef Kerkour, Alex Jordan & James Joyce.
Written by William Shakespeare & Adapted by Justin Richards.
Directed by Scott Handcock.
This is something new. Big Finish have, for nearly ten years now, being releasing adaptations of classic literary works, starting with The Phantom Of The Opera back in 2008. Since then, they've tackled a huge range of texts: Stevenson's Treasure Island, Wilde's The Picture Of Dorian Gray, Stoker's Dracula, Shelley's Frankenstein, even Doyle's The Hound Of The Baskervilles for their Sherlock Holmes line. But this is something very different to those productions: because, until now, Big Finish have never tackled Shakespeare before. Sure, they've dallied in that period of history before, with Shakespeare himself guesting in two Doctor Who releases. But never before have Big Finish attempted an adaptation of one of his plays for the audio medium. And it's a scary prospect, one that even made me wonder if it could work. Sure, Shakespeare has a lyrical feel to it, but the language is very different to the way we speak now. Would it even be understandable to an audio audience? And Big Finish really have chosen to throw themselves right in at the deep end with this, deciding to tackle one of the most notable of all Shakespeare's work. The plot is known across the world, and stands alongside Macbeth and Romeo & Juliet as the most highly-regarded and most adapted Shakespeare work. Would this new version would have anything new to say? Hamlet is definitely one of the greatest risks that Big Finish has ever taken, because, to be honest, the odds are stacked against it. And, while the source that they are working with has several rather large flaws, I'd call this audio version essential listening for anyone who considers themselves a fan of Shakespeare's work, as it presents the tale in a form that you won't be expecting.
I have no real desire to summarise the tale here: if you don't know it, a quick internet search will tell you everything you need to know about the story. Out of all Shakespeare's work, I've been exposed to this the most in recent years, the text being part of my A-Level Drama exam. I, however, find Hamlet a bit listless: it takes an age for anything to happen, and, by the time it does, Shakespeare's running out of daylight, and had to rap the plot up in about five minutes, leaving the ending, in my opinion, deeply unsatisfying. I also think that Hamlet's indecisive nature can be a bit prolonged, and none of the characters are really 'likeable': there isn't anyone you can really root for or get attached to. And maybe that's the point, but that simply doesn't hold the attention across nearly three and a half hours. Hamlet is Shakespeare's longest play, and, while it's a great vehicle for an actor to get their teeth into, it's not really a fun experience for an audience member, especially if you're watching this at the Globe, and are having to stand for hours in inclement weather. In that regard then, Hamlet is perfect for adaptations. However, you run the risk of simply boring your audience. The 2009 BBC adaptation got around this problem through sophisticated direction and camerawork, plus a truly magnetic performance from David Tennant, but still the problems with the source material shine through. Others have tried 'gimmicks', such as making Hamlet female (like in the 2014 run at the Royal Exchange Theatre starring Maxine Peake). However, for me, that fell flat mostly because Hamlet, as a character, doesn't really change if you change the character's gender. Something like Macbeth, King Lear or Othello would be interesting were you to change the central character's gender, but I feel that, with Hamlet, it doesn't really offer anything new or interesting. So, where does the Big Finish version sit? And what does it do to get over the 'flaws' that are inherent in the source material? Well, this version doesn't attempt to shy away from the huge run-time of the piece, nor does it seem to want to cover up the lack of incident. Instead, director Scott Handcock and adaptor Justin Richards seem much more interested in atmosphere and atmospherics. The whole piece plays very much on the differences between the audio medium and the theatrical one, something which I'd never really considered in relation to Shakespeare. Sure, as a writer, I'm aware of the differences between stage and radio scripts, and the different nuances of the mediums, however I hadn't really thought of Shakespeare possessing such subtleties before. What I love in this version is how those subtleties have been drawn out, and how, in audio, Handcock has jumped on the chance to make some scenes somewhat moodier and more silent. Of course, there are a few moments which were highly visual to begin with, such as the play-within-a-play sequence or the moment when Hamlet considers whether or not to kill Claudius. However, Richards has subtly adapted the script to cover these moments, which is helped by both adaptor and director keeping that age-old phase in their minds: often, plays was heard and not seen by those in the pit, and Shakespeare often wrote to accommodate that. And that's something that comes into play here: the rhythm of the words suddenly takes on a greater importance than if this were simply a re-staging. And that goes hand in hand with the more subtle approach that Handcock has taken to certain scenes, leading to a more a natural feel throughout. And while, yes, the script contains the same issues as it ever did, Handcock goes full throttle, not attempting to hide the issues, but just presenting the script as faithfully and honestly as possible. And maybe that's the best way: because the passion here is certainly infectious to the listener.
The main draw with this release is, of course, hearing new actors take on familiar roles, especially the part of Hamlet. Now, while I think anyone would be hard-pressed to ever place the title of 'greatest Hamlet' on any actor, since so many have played the role. However, I think there are a number of actors who have managed to really embody what the character should be the best, and I feel that Alexander Vlahos should be up there within that group. He brings such enthusiasm to the part, but also a tremendous understanding of how the part should be played. There's no feeling of compromise here: every scene is how Vlahos wants to play it, and that's something to be really admired. What's also great about Vlahos' Hamlet is how stripped back it is: there's absolutely no superfluous elements to Hamlet's character at all. He's the angry, confused young man that I suspect Shakespeare envisioned him to be, and that's something that people rarely seem to consider. They seem to look for deeper motivations or reasons, or even quirks that just simply aren't needed. The character is all there on the page, despite the protracted indecisiveness, and Vlahos plays it as such. With this version of Hamlet, I feel like it's the most pure rendition of the character there's been for some time, and it's suitably refreshing. The deep and complex soul-searching can get a bit tiresome, especially when it's been enforced by the actor on top of what's already in the script. But Vlahos just lets the whole thing come in the words and the script, and gives a powerful, impassioned performance that, dare I say it, may actually eclipse his work on The Confessions Of Dorian Gray. Seriously, if that man never plays the Doctor in Doctor Who, I'm going to call it a chance wasted. As for the rest of the cast, well they are just perfect in their roles. In the role of Claudius, Miles Richardson really makes any other interpretation of the role redundant, because he is, without a doubt, the best actor to have taken on the role, close behind Patrick Stewart. If you'd ever heard or seen Miles Richardson in anything prior to this, you'd know that if anyone suggested him for the part of Claudius in Hamlet, you'd agree that that was a genius idea. And Richardson owns the part: totally and completely. He owns it so completely that you forget that there was ever anyone else in the role. He's both cunning and sympathetic, deceitful and yet honest, and he totally rounds out the role in a way some recent interpretations have been lacking in. As for Gertrude, well Tracey Childs is fantastic. The role of Hamlet's mother has always existed on a moral grey line: is she a villain or a victim? Well, here, Tracey will leave you just as unsatisfied as to a definite answer as before, but that's because she gives one of the most multi-layered performances in the role. Seriously, Tracey Childs is fantastic, possible because of her experience as Elizabeth Klein in Big Finish's Doctor Who audios, and here she gives a phenomenal showing. The rest of the cast are just as strong, especially Terry Molloy and Samuel Barnett, who put in equally strong performances as the headliners. Simply put, this cast is one of the most technically sophisticated casts Big Finish has ever had, and each are totally in command of their parts.
Topped off with some fabulous sound design and music from Neil Gardener and James Dunlop respectively (Dunlop's score is particularly memorable for it's haunting melancholy), and you have quite possibly one of the most faithful and successful modern adaptations of Shakespeare that has been produced. While taking advantage of the audio medium, it has a theatricality that is befitting for the piece, and the cast make full use of that range. Director and producer Scott Handcock is committed to it, and the end result is one of the strongest interpretations of Hamlet that there's been. Sure, I wouldn't say it's Shakespeare's best work, but on the strength of what's been achieved here, I'd definitely say that Shakespeare has a place at Big Finish.
Directed by Scott Handcock.
This is something new. Big Finish have, for nearly ten years now, being releasing adaptations of classic literary works, starting with The Phantom Of The Opera back in 2008. Since then, they've tackled a huge range of texts: Stevenson's Treasure Island, Wilde's The Picture Of Dorian Gray, Stoker's Dracula, Shelley's Frankenstein, even Doyle's The Hound Of The Baskervilles for their Sherlock Holmes line. But this is something very different to those productions: because, until now, Big Finish have never tackled Shakespeare before. Sure, they've dallied in that period of history before, with Shakespeare himself guesting in two Doctor Who releases. But never before have Big Finish attempted an adaptation of one of his plays for the audio medium. And it's a scary prospect, one that even made me wonder if it could work. Sure, Shakespeare has a lyrical feel to it, but the language is very different to the way we speak now. Would it even be understandable to an audio audience? And Big Finish really have chosen to throw themselves right in at the deep end with this, deciding to tackle one of the most notable of all Shakespeare's work. The plot is known across the world, and stands alongside Macbeth and Romeo & Juliet as the most highly-regarded and most adapted Shakespeare work. Would this new version would have anything new to say? Hamlet is definitely one of the greatest risks that Big Finish has ever taken, because, to be honest, the odds are stacked against it. And, while the source that they are working with has several rather large flaws, I'd call this audio version essential listening for anyone who considers themselves a fan of Shakespeare's work, as it presents the tale in a form that you won't be expecting.
I have no real desire to summarise the tale here: if you don't know it, a quick internet search will tell you everything you need to know about the story. Out of all Shakespeare's work, I've been exposed to this the most in recent years, the text being part of my A-Level Drama exam. I, however, find Hamlet a bit listless: it takes an age for anything to happen, and, by the time it does, Shakespeare's running out of daylight, and had to rap the plot up in about five minutes, leaving the ending, in my opinion, deeply unsatisfying. I also think that Hamlet's indecisive nature can be a bit prolonged, and none of the characters are really 'likeable': there isn't anyone you can really root for or get attached to. And maybe that's the point, but that simply doesn't hold the attention across nearly three and a half hours. Hamlet is Shakespeare's longest play, and, while it's a great vehicle for an actor to get their teeth into, it's not really a fun experience for an audience member, especially if you're watching this at the Globe, and are having to stand for hours in inclement weather. In that regard then, Hamlet is perfect for adaptations. However, you run the risk of simply boring your audience. The 2009 BBC adaptation got around this problem through sophisticated direction and camerawork, plus a truly magnetic performance from David Tennant, but still the problems with the source material shine through. Others have tried 'gimmicks', such as making Hamlet female (like in the 2014 run at the Royal Exchange Theatre starring Maxine Peake). However, for me, that fell flat mostly because Hamlet, as a character, doesn't really change if you change the character's gender. Something like Macbeth, King Lear or Othello would be interesting were you to change the central character's gender, but I feel that, with Hamlet, it doesn't really offer anything new or interesting. So, where does the Big Finish version sit? And what does it do to get over the 'flaws' that are inherent in the source material? Well, this version doesn't attempt to shy away from the huge run-time of the piece, nor does it seem to want to cover up the lack of incident. Instead, director Scott Handcock and adaptor Justin Richards seem much more interested in atmosphere and atmospherics. The whole piece plays very much on the differences between the audio medium and the theatrical one, something which I'd never really considered in relation to Shakespeare. Sure, as a writer, I'm aware of the differences between stage and radio scripts, and the different nuances of the mediums, however I hadn't really thought of Shakespeare possessing such subtleties before. What I love in this version is how those subtleties have been drawn out, and how, in audio, Handcock has jumped on the chance to make some scenes somewhat moodier and more silent. Of course, there are a few moments which were highly visual to begin with, such as the play-within-a-play sequence or the moment when Hamlet considers whether or not to kill Claudius. However, Richards has subtly adapted the script to cover these moments, which is helped by both adaptor and director keeping that age-old phase in their minds: often, plays was heard and not seen by those in the pit, and Shakespeare often wrote to accommodate that. And that's something that comes into play here: the rhythm of the words suddenly takes on a greater importance than if this were simply a re-staging. And that goes hand in hand with the more subtle approach that Handcock has taken to certain scenes, leading to a more a natural feel throughout. And while, yes, the script contains the same issues as it ever did, Handcock goes full throttle, not attempting to hide the issues, but just presenting the script as faithfully and honestly as possible. And maybe that's the best way: because the passion here is certainly infectious to the listener.
The main draw with this release is, of course, hearing new actors take on familiar roles, especially the part of Hamlet. Now, while I think anyone would be hard-pressed to ever place the title of 'greatest Hamlet' on any actor, since so many have played the role. However, I think there are a number of actors who have managed to really embody what the character should be the best, and I feel that Alexander Vlahos should be up there within that group. He brings such enthusiasm to the part, but also a tremendous understanding of how the part should be played. There's no feeling of compromise here: every scene is how Vlahos wants to play it, and that's something to be really admired. What's also great about Vlahos' Hamlet is how stripped back it is: there's absolutely no superfluous elements to Hamlet's character at all. He's the angry, confused young man that I suspect Shakespeare envisioned him to be, and that's something that people rarely seem to consider. They seem to look for deeper motivations or reasons, or even quirks that just simply aren't needed. The character is all there on the page, despite the protracted indecisiveness, and Vlahos plays it as such. With this version of Hamlet, I feel like it's the most pure rendition of the character there's been for some time, and it's suitably refreshing. The deep and complex soul-searching can get a bit tiresome, especially when it's been enforced by the actor on top of what's already in the script. But Vlahos just lets the whole thing come in the words and the script, and gives a powerful, impassioned performance that, dare I say it, may actually eclipse his work on The Confessions Of Dorian Gray. Seriously, if that man never plays the Doctor in Doctor Who, I'm going to call it a chance wasted. As for the rest of the cast, well they are just perfect in their roles. In the role of Claudius, Miles Richardson really makes any other interpretation of the role redundant, because he is, without a doubt, the best actor to have taken on the role, close behind Patrick Stewart. If you'd ever heard or seen Miles Richardson in anything prior to this, you'd know that if anyone suggested him for the part of Claudius in Hamlet, you'd agree that that was a genius idea. And Richardson owns the part: totally and completely. He owns it so completely that you forget that there was ever anyone else in the role. He's both cunning and sympathetic, deceitful and yet honest, and he totally rounds out the role in a way some recent interpretations have been lacking in. As for Gertrude, well Tracey Childs is fantastic. The role of Hamlet's mother has always existed on a moral grey line: is she a villain or a victim? Well, here, Tracey will leave you just as unsatisfied as to a definite answer as before, but that's because she gives one of the most multi-layered performances in the role. Seriously, Tracey Childs is fantastic, possible because of her experience as Elizabeth Klein in Big Finish's Doctor Who audios, and here she gives a phenomenal showing. The rest of the cast are just as strong, especially Terry Molloy and Samuel Barnett, who put in equally strong performances as the headliners. Simply put, this cast is one of the most technically sophisticated casts Big Finish has ever had, and each are totally in command of their parts.
Topped off with some fabulous sound design and music from Neil Gardener and James Dunlop respectively (Dunlop's score is particularly memorable for it's haunting melancholy), and you have quite possibly one of the most faithful and successful modern adaptations of Shakespeare that has been produced. While taking advantage of the audio medium, it has a theatricality that is befitting for the piece, and the cast make full use of that range. Director and producer Scott Handcock is committed to it, and the end result is one of the strongest interpretations of Hamlet that there's been. Sure, I wouldn't say it's Shakespeare's best work, but on the strength of what's been achieved here, I'd definitely say that Shakespeare has a place at Big Finish.
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