Theatre should be for the many, and not the few, so by bringing ‘National Theatre Live’ into the cinema, and ‘National Theatre at Home’ to your armchair, there is more chance than ever for everyone to enjoy theatre. On the 22nd January, Hamlet will be available to watch on a cinema screen near you, and William Shakespeare’s tragic play, will be accessible within the medium of film. Although live performance will always be the best way to experience theatre, this runs at a pretty close second!
Hamlet (for those who have yet to experience the play), is a young prince who resides in Elsinore, Denmark, who returns from university to find that his father the King is dead, and that within a month of his death, his mother has married his Uncle Claudius (Alistair Petrie). These events destabilize the state’s relationship with their diplomatic neighbours and also causes Hamlet to question the fealty of his friends.
With the National Theatre’s version of Hamlet, the energetic, modern prince (Hiran Abeysekera) is dressed in a sombre black suit, reminding us that he is still mourning the death of his father, in contrast to his mother Gertrude (Ayesha Dharker), who is dressed in yellow, having barely had time to wear her widow’s weeds. Linking the costume design with the emotions of the characters is a cunning idea by set and costume designer Ben Stones, as it creates a visual representation of their emotions. And, whilst congratulating Stones on his costume design work, his set design is stunning and a scene stealer, instantly adding a majestic air to the staging.
Although Hamlet is labelled as a tragedy, there was comedy to be found in this production. Polonius (Geoffrey Streatfield) offered a humorous side to his personality, and this was used to significant effect, and in no way distracted from the solemn nature of the play, in fact it added contrast to Claudius’ more austere persona. This austere persona was on display during the scene when the players perform ‘The Murder of Gonzago’ which an Elizabethan ruffle wearing Hamlet has organised in an effort to stir Claudius’ conscience. Claudius’s conscience may have been stirred, but was this scene successful? The cast sitting side on to the audience was not the best solution, as we cannot read their facial expressions or body language which add a second layer to communication. The players performed under Hamlet’s direction on a raised stage and in a concert format, but I feel that due to this decision by the set designer and director Robert Hastie, some of the scene’s impact may have been lost. This was the low point in an otherwise very high-quality production.
The play’s outstanding performance comes from Francesca Mills who is expressive in her moments of jubilation and grief, and she really shines as Ophelia. Mills’ connection with her onstage family; brother, Laertes (Tom Glenister), and father, Polonius (Streatfield); makes the grief at her father’s loss all the more believable.
There were times when Abeysekera’s delivery of some of Shakespeare’s most iconic lines were rushed and lacked weight, but on the whole the production was a success, and Shakespeare’s much loved language was celebrated.
The play comes to cinema screens from the 22nd January 2026. Check your local cinema for screening dates or go to the National Theatre Live website for further details of showings in your local area – https://hamlet.ntlive.com/
Reviewer: Caroline Worswick
Reviewed: 14th January 2026
North West End UK Rating: