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Justin Audibert’s debut production of Hamlet at Chichester Festival Theatre offers an intimate, psychologically intense interpretation, featuring Giles Terera in the titular role and marking a historic first for the venue\u2019s Shakespeare offerings.<\/p>\n<\/div>\n
By the time Laurence Olivier became the first artistic director of Chichester Festival Theatre in 1962, he was already acclaimed for his portrayals of Hamlet on stage and screen. Yet, remarkably, Chichester had never produced its own version of Shakespeare\u2019s \u201cthe Danish play\u201d \u2014 until now. This year, under the direction of Justin Audibert, who assumed the artistic helm in 2023, the theatre presents its inaugural home-grown \u201cHamlet,\u201d starring Giles Terera in the title role.<\/p>\n
Audibert\u2019s production, staged at the intimate Minerva Theatre, eschews the high-concept trends that have characterised recent Hamlets set amid maritime scenes or overlaid with contemporary soundtracks. Instead, it offers a clear, unhurried tragedy that allows audiences to delve deeply into the prince\u2019s psychological torment. Terera\u2019s powerful interpretation captures the solitude and intensity of Hamlet\u2019s soliloquies, with the theatre\u2019s close quarters amplifying the precision of his expressions. One striking moment sees the lights rise gently during the iconic \u201cTo be or not to be\u201d soliloquy, Terera\u2019s eyes softly closing on \u201cperchance to dream\u201d before he is abruptly pulled back, reinforcing the prince\u2019s internal struggle.<\/p>\n
The production\u2019s visual and auditory elements create a palpable atmosphere of decay and tension. Designer Lily Arnold paints Elsinore with a palette dominated by murky greens and metallic hues, evoking a sense of rot permeating the royal residence. The split-level stage highlights the castle\u2019s tarnished walls, with the crown presented under a cold spotlight on a cushion \u2014 stripped of all its shine, symbolising the frailty of power. Sound designer Ed Clarke complements this imagery with disquieting effects \u2014 the metallic groans and creaks conjure an unsettling ambiance, while the ghost\u2019s \u201cswear!\u201d crashes like thunder, heralding supernatural menace. Arnold\u2019s rocky coastline set beyond the stage serves as a reminder of looming external threats, enhancing the sense of political instability.<\/p>\n
Lighting designer Ryan Day draws from Hamlet\u2019s metaphorical \u201cinky cloak,\u201d enveloping many court figures in shadow and emphasising the secretive, conspiratorial atmosphere. Claudius, played by Ariyon Bakare, receives his crown directly from Sara Powell\u2019s Gertrude in a ceremony bathed in candlelight, followed by a sycophantic council that underscored the corrupt environment. Across these scenes, Terera simmers with restrained rage and melancholy, his performance portraying Hamlet as a man haunted not only by personal loss but also by the broader political decay and violence around him.<\/p>\n
The casting choices deepen the production\u2019s sense of psychological complexity. With Terera aged 48 and Bakare not much older, their characters\u2019 rivalry for Gertrude\u2019s favour gains a new intensity and immediacy. Eve Ponsonby offers a mature Ophelia, her youth arrested and confined within the castle\u2019s rust-hued walls \u2014 a visual metaphor enhanced by her green attire and red hair. This depiction adds a layer of tragedy to her character\u2019s infantilisation and repression, especially under the harsh eye of Keir Charles\u2019s Polonius, who asserts his authority through physical control and verbal chastisement. Bakare\u2019s Claudius exudes a slow-burning malevolence, notably embodied in his trembling right hand hidden beneath a glove, symbolising the guilt and foreshadowed divine retribution for his murderous ascent to power. Meanwhile, Powell\u2019s Gertrude is portrayed as a woman deeply wracked by guilt, potentially aware as she drinks what may be poison.<\/p>\n
At three and a half hours, the play\u2019s pace occasionally falters, but the robust performances and Audibert\u2019s sensitive direction sustain engagement throughout. Sam Swann\u2019s Horatio provides a steady, grounded presence, while Beatie Edney brings earthy humour as the gravedigger. Audibert, formerly artistic director of the Unicorn theatre and experienced in children\u2019s theatre, demonstrates an acute awareness of the Minerva\u2019s intimate setting. He cleverly uses Claudius\u2019s prayer scene to pause the action before the interval, a choice that builds suspense and likely reflects an understanding that many audience members may be newcomers to the play. This \u201cHamlet\u201d stands as a commanding debut for Chichester\u2019s long-awaited venture into Shakespeare\u2019s masterpiece, marrying classical respect with contemporary relevance.<\/p>\n
According to the Chichester Festival Theatre\u2019s announcement, the production runs from 6 September to 4 October 2025. Audibert has described the role of Hamlet as the \u201cMount Olympus of acting challenges,\u201d seeking to shape the play as a thriller that keeps audiences engaged while exploring the depth of its tragedy. This approach, paired with Terera\u2019s compelling lead performance and the production\u2019s atmospheric design, makes for an enriching theatrical experience distinctive for its blend of intimacy and political urgency.<\/p>\n