Hastie brings hamlet's 'play' to new york – a fresh take on shakespeare’s prince
New York, a city of countless facets, isn’t a singular entity – a truth Robert Hastie, the renowned British theater director, eloquently articulated. And this principle extends equally to the stage. Now, returning to the city before the April 26th premiere of his modern-dress production of Hamlet at BAM, Hastie is poised to introduce a strikingly different interpretation of the iconictragedy.
A prince reimagined: hiran abeysekera’s bold vision
Hastie’s production, originally conceived for the National Theatre in London, showcases Hiran Abeysekera, the Sri Lankan actor who captivated audiences with his portrayal of Pi Patel in Life of Pi. Abeysekera’s Hamlet – a figure rendered with a palpable immediacy – is a departure from previous stagings, a deliberate rebellion against established conventions. As Hastie noted, "He doesn’t look like any of the Hamlets we’ve had before, and that’s not just about his ethnicity." The actor’s ability to forge a direct, almost confrontational, connection with the audience is, according to Hastie, the production’s core strength.
Brooklyn academy of music: a city of layers
The setting – Fort Greene, Brooklyn – amplifies the production’s thematic resonance. BAM, a venue steeped in theatrical history, has hosted over 20 productions of Hamlet since 1861. Hastie recognizes this rich legacy, acknowledging the play’s enduring power and its capacity to speak to diverse audiences across generations. This isn’t simply a revival; it’s a conversation with a theatrical past.
Design as dialogue
Visually, Ben Stones’ costume and set design – a deliberately sleek and modern aesthetic – contributes significantly to the production’s impact. Images of the prince sporting a provocative earring and indulging in a Dom Pérignon bottle, while his courtiers recount their encounter with the late king’s ghost, immediately signal a departure from traditional interpretations. But the true innovation lies in Abeysekera’s performance, a deeply emotional resonance that held an audience of nearly 1,000 spellbound in London.
A stage that demands response
Abeysekera himself describes the play as “so up to the audience.” He’s keen to observe how New York’s theatergoers will react, recognizing that the production's success hinges on the dynamic between performer and audience. He’s even experimenting with a new approach to the soliloquies, aiming to transform them into a shared, interactive experience – a dialogue rather than a recitation. “I want to see what New York will bring to my performance,” he stated.
Navigating the weight of the crown
Reflecting on his experience performing Hamlet in London, Abeysekera admitted to a period of apprehension. “I think I may have underestimated the impact that it would have and the weight of it all.” Now, returning to the stage, he acknowledges the pressure he felt, a pressure that was only fully realized after the final curtain call. He’s determined to approach this new iteration with a renewed awareness of the role’s demands – a recognition born from hard-won experience.
Beyond the stage: a search for belonging
Offstage, Abeysekera is surprisingly modest, expressing gratitude for the opportunities afforded to him by Indhu Rubasingham and Rob Hastie. However, his journey has been marked by a persistent sense of displacement, a feeling of not entirely belonging in Britain despite nearly two decades of residence. The legal constraints of his global talent visa – restricting his time abroad – serve as a constant reminder of this unresolved issue. Yet, within the British theater community, he finds a sense of acceptance and connection, a validation that transcends legal formalities. He’s embracing the challenge of bringing this profoundly personal story to a new audience, confident that New York will offer a unique perspective.