Review: THE TRAGEDY OF HAMLET, PRINCE OF DENMARK at the National Arts Centre

Ex Machina | Robert Lepage + Côté Danse | Guillaume Côté have collaborated in this interpretation of Shakespeare’s The Tragedy of Hamlet, Prince of Denmark fusing tradition with innovation, and inviting audiences into a world where the classics meet modern theatrical artistry. This Hamlet has a distinctive visual flair that is immediately recognizable as Robert Lepage (the show's co-creator who also designed and directs the piece), and is sure to appeal both to regular theatregoers, dance aficionados, and film buffs, as it blends elements from all three genres into what can only be described as a feast for the senses.

Ex-Machina is known for blending live performance with technology. In keeping with this reputation, Hamlet opens with an almost cinematic feel, its strong lighting, dramatic staging, and powerful soundscape setting the scene for what is to come. A rewind of sorts takes the audience back to the beginning of the play, aided with surtitles that mostly serve to introduce the main characters, but also lightens the mood with humorous wordplay.

The play follows the despondent Prince of Denmark (Guillaume Côté, who is also Co-creator, Choreographer and Artistic Designer) as he grapples with the death of his father. The Queen (Greta Hodgkinson, O.Ont.) adds insult to injury by marrying Hamlet’s uncle, Claudius (Robert Glumbek), who assumes the throne. In a murder re-enactment scene cleverly executed by evoking a shadow-play, the ghost of Hamlet’s father reveals to his son and Horatio (Natasha Poon Woo) that he was, in fact, poisoned by Claudius, which sets Hamlet onto his path of revenge. The show successfully navigates the themes of the play through dance and choreography - madness, betrayal, and existential crisis - resulting in bloodshed of both the innocent and guilty.

The costumes, by Michael Gianfrancesco and Monika Onoszko, create a visual tapestry that echoes the Hamlet’s psychological depth. The characters are dressed in a blend of contemporary and period costumes, with muted colour palettes to let the blood red drapery surrounding the stage be the primary element. The costumes subtly reflect the characters’ status or emotional state.  For instance, . The Queen and Claudius’ costumes contain violet elements, conveying their royal status. Hamlet’s attire transitions from more formal Danish court dress to sombre clothing as his internal conflict grows. The Queen and Claudius’ costumes contain violet, highlighting their royal positions.

Lighting designer (Simon Rossiter) uses dynamic lighting to shape mood and focus. The contrast between light and shadow is used to underscore Hamlet’s psychological turmoil, with cool tones evoking the chill of Elsinore Castle. The sound incorporates atmospheric effects, heavy breathing, and music composed by John Gzowski that heighten the tension of pivotal moments.

The choreography enhances both the emotional and narrative aspects of the show. The dancers put their physicality on full display, their movements synchronized with technical elements, such as moving set pieces, shifting projections, and patterns of light, creating a sense of transformation that reflects Hamlet’s own inner turmoil. Of particular note is Ophelia’s (Carleen Zouboules) death scene, where she is pulled into a vertical sea of blue curtains, and thrashed about until her lifeless corpse is washed up onto the stage. The fight scenes are also beautifully choreographed, with white and red banners attached to the combatants’ épées, enhancing their movements.

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