‘this strong production shows just how adaptable Shakespeare is’
Director and script editor Kate Allerston doles out doses of revenge, betrayal, and ambition with this immersive adaptation of one of Shakespeare’s most chilling plays, with the ensemble cast also performing minor roles.
Prince Hamlet (Daniel Ford), accompanied by his good friend Horatio (Libby Marshall), is consumed by grief and anger, following the death of his father and his mother Gertrude’s (Katie Fry) hasty marriage to his uncle, Claudius (Kristian Lawrence), who then becomes king. He encounters the ghost of his father who reveals he was murdered by Claudius and demands revenge. Hamlet feigns madness to investigate the claim and plan his revenge which causes consternation at the court, despite the support of childhood friends Rosencrantz (Melissa Hughes) and Guildenstern (Ryan Byrne), whilst his relationship with Ophelia (Lucy Hilditch), daughter of the royal advisor Polonius (Allerston), deteriorates as his inner turmoil comes to the fore. With one chaotic event leading to another, and Laertes (Aj Howell) seeking his own revenge following the deaths of his sister, Ophelia, and mother, Polonius, and there is an inevitable tragic ending with a strongly choreographed scene from fight director Dan Cambridge.
The staging, designed by Sophie Culshaw and managed by Mel Hughes, was kept deliberately simple and all the more effective for it. With a multi-purpose platform stage and props by Phil Symes, there was good use of the available performance space with considered entrances and interactions with the audience as an extension of the courtly scenes. Costume design reflected the mood of individual characters and was further embellished in their hair and makeup design, courtesy of Riverside College Theatre Hair & Makeup Team.
There was a good selection of background music from composer, sound engineer, and producer Chris Bastock that embodied both the magic and mayhem as a circling madness takes hold, although a couple of bitty elements could perhaps be dispensed with. Whilst the ghost of Hamlet’s father does appear, the later haunting voice over was used to good effect.
With over 4,000 lines, Hamlet is Shakespeare’s longest play and with an uncut version performing anywhere between 3 ½ and 4 ½ hours, it can be a tough watch. Whilst this condensed production of seventy minutes naturally results in some compromise, it communicates the salient points well and arguably opens up the bard to a wider audience who, in the modern day and age, expect things to be delivered in a flash. Equally, with a couple of gender changes, this strong production shows just how adaptable Shakespeare is.
The cast perform well with Hughes and Byrne combining effectively throughout in their main and minor roles, whilst Marshall’s Horatio provided the necessary bridge between chaos and reality for the audience to follow.
Allerston embodied the family dynamic, thrusting her children forward to greater things with Hilditch effectively capturing the anguish of Ophelia, whilst Howell’s Laertes was understandably full of ire if a little overwrought on occasion.
Lawrence and Fry caught the ambiguity of the new royal relationship, with Lawrence suitably conniving as the recently crowned King whilst Fry sensibly seeks stability.
Ford rises to the challenge of Hamlet and the many famous and infamous lines, with his direct addresses to the audience as an expression of his maelstrom of thoughts working particularly well.
A Place for Us is a multi-award-winning Northwest based Theatre company, working across the UK, committed to producing high quality, inclusive and accessible performances that engage and inspire audiences of all ages.
Romeo & Juliet is part of their Shakespeare Summer Tour with further details on the company and the tour at https://www.placeforus.org.uk/
Review Date: 12th July 2026
Star Rating: FOUR