PROGRESS Theatre is back with its annual open-air production, returning to Reading’s Abbey Ruins with Hamlet.
Hamlet is among the most celebrated of Shakespeare’s work, following the titular prince as he seeks revenge against the new King of Denmark–his uncle–for the murder of Hamlet’s father.
It is therefore fitting that one of the most timeless plays in the canon should be staged in as hallowed and historic a ground as a building approaching a millennium old.
A large ensemble cast rises to meet the challenge of such austere surroundings, too: not least the lead, Dylan Collie, whose portrayal of Hamlet is confidently and assuredly given.
While he simmers in the opening act of the play, his performance continues to expand through the production, growing to a bombastic crescendo befitting of such a celebrated role.
He also shines in some of the work’s most recognisable speeches, which he imbues with a judicious mix of subtlety and bombast.
The production features a similarly engaging and engrossing portrayal of Laertes, proving as a perfect foil for the play’s protagonist–especially at the very close of the play, where the two face off.
Elsewhere, Chris Moran brings a levity to proceedings as the gravedigger, who in this adaptation serves as an interstitial narrator.
Moran’s humorous musings are joyfully cheeky, providing not only a helpful summary for less familiar audience members, but also something of a breathing space amid the play’s more involved sections.
Among the other highlights are Dean Stevenson’s considered portrayal of Horatio and thoroughly enjoyable takes on both Rosencrantz and Guildenstern, as well as austere performances from Claudius, Gertrude, and Polonius.
Quite apart from the imposing surroundings of Progress’ regular open-air play, the staging strikes the company’s trademark balance of evocative but unobtrusive staging.
A steampunk aesthetic gives a fresh visual aspect to the production without encroaching on the themes and settings.
It also gives Progress the chance to showcase some of their most impressive and commendable costume work in some time; silk waistcoats, satin, and chiffon abound, as well as a striking realisation of the ghost(s) of Hamlet’s father.
Overall, the production is to be considered among Progress’ unmissable shows; not only is it a concisely adapted and well-cast version of a theatrical staple, but the company’s love for the artform, and its history, has never been more present.
To see Hamlet in the grounds of a 900-year-old building is a privilege, and Progress’ production makes it a joy, too.
Hamlet is showing at Reading’s Abbey Ruins from July 15-25, excluding Sunday, July 19.
Full details and tickets are available via: progresstheatre.co.uk/whats-on
