Re-review: Hamlet (RSC tour)

Hamlet is a play so popular and frequently produced that I've seen it more times than any other, so it's not often I feel the need to revisit a particular production. Simon Godwin's 2016 Stratford version was one I did want to see again, and I was far from the only person to be disappointed and annoyed when it was the only show in that RSC season not to transfer to London. The reason given was that the cast was unavailable, but as many of them were in other shows in the season, including Paapa Essiedu in the lead, there would probably only have been the need for a handful of roles to be recast. Well that omission has finally been rectified, as Essiedu returns to lead a tour of this relocation of mediaeval Denmark to modern Africa, with some of the original cast also joining him; more recastings have had to be made than would probably be the case if it had transferred straight away, but it's not in the least to the detriment of the production.

Theatre review: The Firm

Roy Williams was last at Hampstead Theatre writing about the police; now he comes to the Downstairs space with a look at the other side of the law. Gus (Clinton Blake) was once the leader of The Firm, the brains behind one of South London's most successful gangs of robbers and the only one of them never to be caught and jailed. Now pushing fifty they've all pretty much left that life behind them, and true to form Gus has had the most success since going legit: The play takes place in a wine bar he's about to reopen, one of a number of investments he owns. He and right-hand man Leslie (Jay Simpson) are preparing a party for Shaun, the last of the gang to still be in prison, to celebrate his release. Trent (Delroy Atkinson) and Selwyn (Clarence Smith) soon join them, but there's no sign of the guest of honour.

Theatre review: Hamlet (RSC / RST)

A few duff Hamlets in recent years haven't quite shaken my belief that Shakespeare's best-loved play deserves its reputation if only because of how infinitely adaptable it can be; but it always helps to have a great production come along and justify my faith in what is probably the play I've seen more times than any other. The latest RSC Hamlet is a particularly stark contrast to their last one three years ago: Where David Farr's production was intellectual, clinical, relentlessly bleak and ultimately dull, Simon Godwin's new take is playful, emotional and colourful - literally so in Paul Wills' design, as Paapa Essiedu's Hamlet expresses his "antic disposition" with furious, expressive and very messy painting.