For Sydney audiences, this Hamlet may feel new. But the much celebrated production actually premiered at the 2017 Glyndebourne Festival, before then travelling to the Adelaide Festival the following year. It has since played at the Metropolitan Opera in New York and, most recently, at Munich Opera Festival.
Across those locations, the production – with its magical formula of Brett Dean’s music, Matthew Jocelyn’s libretto and Neil Armfield’s direction – has been lauded as a “masterpiece” and “an instant classic”. On opening night (20 July) Sydney audiences had high expectations.
While it is musically esoteric at times, the opera is also entertaining – a hard feat to pull off given Shakespearean text is not a comfortable read at the best of times. And, let’s be honest, Hamlet is not an easy tale.
For those who need a quick and simple refresher, it is the story of a son who seeks to avenge his father’s murder. Cinematically, it’s what could be described as a “revenge thriller”.
While the discombobulation, linear fracture and shortening (aka ‘to be or not’) of Jocelyn’s libretto is a radical departure from Shakespeare in many ways, it is perfectly in sync with Dean’s score, which is quite percussive with electronic riffs and recurring motifs. He has created what may very well be the “sound” of madness and, as an audience, we feel that we have stepped into Hamlet’s fractured world.
But this intellectual approach results in a score that is far from foot-tapping or shower-singing. That said, brilliance shines through. There is a lightness in all of Hamlet’s darkness.
This reviewer loved, loved the whispered repeated words – like an earworm drilling into one’s own maddening mind. They give a kind of cinema-like surround sound effect – emphasised by having the orchestra and chorus spill out into the upper loges of the auditorium, offering an eerie presence (due to the smaller stage at Joan Sutherland Theatre).
Making his Australian debut, conductor Tim Anderson does a fantastic job in delivering this complex score.
British tenor Allan Clayton totally nails the role of Hamlet, the Prince of Denmark. He has sung the role in all four previous stagings, and Armfield hinted (at a pre-opening event) that the Sydney production would be his last.
They will be hard shoes to fill, so be sure to see his history making moment. He clearly has taken ownership of the part, cannily balancing that psychosomatic state of madness and murderous rage, with a delicious playfulness and humour. He is so relaxed on stage, despite this demanding role – the sign of a true professional.
Opposite him is homegrown soprano Lorina Gore as Ophelia – a crazily difficult role to sing for the vocal control and complexity it demands. Her shrieks are blood curdling.
Audiences are witness to her own unravelling, from good girl defender of Hamlet’s affections, to her own slide into madness. Her “never never never”, almost whispered, is absolutely haunting.
Another highlight is Jud Arthur as the Ghost of Old Hamlet. Like an albino version of the Hulk, his presence on stage is slightly demonic and definitely unnerving. His deep bass voice ads to his deathly demeanour. Arthur also plays the role or the gravedigger, which has been reworked for the Sydney performance.
In total contrast, countertenors Rosencrantz (Russell Harcourt) and Guildenstern (Christopher Lowrey) offer comic relief as fussing courtiers.
Also worthy of mention are US baritone Rod Gilfry as Claudius, and Australian mezzo-soprano Catherine Carby as Gertrude (Hamlet’s mother).
Ralph Myers’ set is simple, and at times feels a little flat or two-dimensional on the smaller stage. The apogee of the former productions was when the ceiling was lowered to magically create the graveyard. This is lost in the smaller theatre. Armfield’s workaround is bits of scenery scattered around the stage.
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The final word goes to Armfield. He is much loved by Australian audiences for his directorial vision and Hamlet is an incredible theatrical reinvention. His 1995 stage production of the play with Richard Roxburgh, Geoffrey Rush and Cate Blanchett was a milestone. To trump that, throwing all the parts in the air and allowing them to settle into a new rethinking and art form, is testament to his deep connection with this play and its possibilities.
Producing one of the most famous plays of all time, the challenge was to create that something fresh – and yet remain true to the collective world expectations of Hamlet. Dean, Jocelyn and Armfield do deliver that. And while this is far from an easy opera to watch, it is a highly charged and brilliant piece of work.
Hamlet, Joan Sutherland Theatre, Sydney Opera House
Composer: Brett Dean
Libretto: Matthew Jocelyn after William Shakespeare
Director: Neil Armfield
Conductor: Tim Anderson
Set Designer: Ralph Myers
Costume Designer: Alice Babidge
Lighting Designer: Jon Clark
Sound Designer: Bob Scott
Lighting Realised by: Peter Harrison
Fight Director: Nicholas Hall
Movement Director: Denni Sayers
Assistant Director: Eugene Lynch
Cast: Allan Clayton, Lorina Gore, Rod Gilfry, Catherine Carby, Kanen Breen, Samuel Dundas, Jud Arthur, Nicholas Jones, Russell Harcourt, Christopher Lowrey, Andrew Moran, Virgilio Marino, Iain Henderson, James Crabb
Hamlet runs at the Sydney Opera House until 9 August 2024. Ticketed.
