Hamlet: The Rest Is Silence - Theatre Royal, Nottingham.

Thomas Levi
Jun 12
3 min read

★★★★★

Hamlet: The Rest Is Silence is a community project born from the exciting partnership between Nottingham Theatre Royal & Concert Hall and the RSC’s Shakespeare Nation initiative. If this is what TRCH can achieve with a cast of amateur performers, then in-house productions deserve a permanent place in the theatre’s future.

A man in black stands on a dimly lit stage with blue spotlight. His shadow is cast on a screen. Mood is contemplative. — Laurence James-Davis as Hamlet.

Shakespeare’s Hamlet, thoughtfully adapted by director Rebecca Morris, follows Prince Hamlet of Denmark as he seeks revenge against his uncle Claudius, who has murdered Hamlet’s father, seized the throne, and married Hamlet’s mother, Gertrude. Haunted by his father’s ghost, who demands justice, Hamlet wrestles with doubt, madness, and the moral complexities of vengeance. His erratic behaviour alienates those around him, leading to a spiral of death and betrayal that ultimately consumes the royal court. The play explores themes of mortality, corruption, and the search for truth in a deceitful world.

Even with a professional cast, Hamlet is a monumental challenge, particularly due to the demanding title role, which contains more lines than any other character in Shakespeare’s canon. Yet this adaptation thrives on its ensemble approach. Many of Hamlet’s iconic lines are distributed among the wider cast. This bold and effective choice preserves the story’s emotional resonance while showcasing the collective strength of the community ensemble. This inventive structure not only highlights individual performances but also lends the production a dynamic pace, condensing the traditionally lengthy play into a tight and engaging two hours.

Stage play scene with actors in black costumes. One stands in a cape, another sits with a crown, others kneel. Dramatic lighting.

Kate Martin gives a compelling debut performance as Gertrude. It’s hard to believe this is her first time on stage—she is grounded, expressive, and deeply responsive to her fellow actors, embodying the emotional core of the character with impressive nuance.

Laurence James-Davis brings a quiet intensity to the role of Hamlet. Rather than playing the descent into madness, his portrayal is subdued, inviting the audience to witness Hamlet’s unravelling through the words of those around him. It’s an interesting and unique interpretation.

Lily Essex is a beautifully well-rounded Ophelia. Her sweetness in the first half is juxtaposed with her apparent detachment from reality in Act 2. The inspired decision to split the “To be or not to be” soliloquy between Hamlet and Ophelia adds fresh depth to both characters. It works exceptionally well in the context of this production.

Pete Bone is chillingly effective as the Ghost of Hamlet’s father—his voice and stage presence are both haunting and memorably measured. Richard Young (Claudius), George Lamb (Horatio), and Louis Chadburn (Fortinbras) all command the stage with strength and clarity. At the same time, Róisín Kelly and Ross Levy bring fantastic energy and chemistry to Rosencrantz and Guildenstern, injecting the production with vitality and humour.

Stage scene with actors performing under dramatic lighting. A person in a black cloak stands prominently beside others. Blue and white lights.

The theme of self-reflection is mirrored both metaphorically and visually, with mirrored elements in the set design underscoring the introspective nature of the narrative. While the musical choices and sound effects vary in genre and tone, they serve the storytelling well and contribute effectively to scene transitions and mood. Rachel Elphick’s lighting design deserves particular praise; the simplicity of her approach enhances key moments and draws attention to the emotional currents running through the piece.

After nearly a year in development, the cast and crew have delivered a production that feels both polished and heartfelt. With a cast ranging from first-time performers to seasoned Am-Dram regulars, this community project is a powerful reminder of theatre’s ability to unite, inspire, and empower, on both sides of the stage.

Director Rebecca Morris and Associate Director Thomas Morley should be incredibly proud. Hamlet: The Rest Is Silence is a triumph of collaboration, vision, and community spirit—a genuinely entertaining piece of theatre. Let’s hope this marks the beginning of a new tradition of in-house, community-led productions at TRCH. If this is the standard they’ve set, I’m eager to see what’s next.