★★★★

Prince Hamlet smells a rat. Something is rotten in the state of Denmark, but it’s not the rotting corpse of the King that’s causing all the stench. Set in modern times, director Damien Ryan’s production has all the hallmarks of a political Cold War thriller.

The palace of Elsinore is awash with secrets and lies, and brimming with eavesdropping spies and electronic bugging devices. The royal Danes are gripped by the fear of invasion by Norway, and Hamlet’s uncle Claudius (Sean O’Shea) wastes no time marrying Queen Gertrude (Doris Younane) and seizing the crown, while gaining an enemy in Hamlet.

The use of a simple but clever set, smoke machines and some very effective lighting enhances the eerie setting. The phantom apparition enlightens the young prince about Claudius’ evil doings in order to become King, then urges Hamlet to seek vengeance – and so the tragic demise of the royal court is set in motion.

Josh McConville’s portrayal of Hamlet’s chaotic and increasingly unhinged mind is energetic, unpredictable and refreshing. McConville brings a physicality to the role that has been missing from some past productions, and his clear and engaging tone when tackling Shakespeare’s most-loved soliloquies is impressive, while his emphasis on important plot points keeps the story flowing at an agreeable pace.

O’Shea is a compelling Claudius as he grapples with a murderer’s conscience, and Younane’s performance in the final scene is enough to make you think twice next time you’re offered a drink.

Although often seen as a second-tier character, Philip Dodd’s Polonius is an absolute scene-stealer. The actor’s confident and seemingly effortless understanding and interpretation of a complicated text is a joy to watch, and much appreciated in the moments when the narrative reveals a twist. In a genius move, he pops up again in the role of the gravedigger, bringing some welcome comic relief.

However, Dodd isn’t the only actor to take on multiple characters, as more than half the cast appears in dual (or even triple) roles, causing some confusion – as do the gender-switched roles of Marcellus (Julia Ohannessian) and Bernando (Catherine Terracini), which reverse the tradition of Shakespeare’s time when men played all female characters.

This production of Hamlet by the Bell Shakespeare company has lived up to the its reputation for depicting Shakespeare in a relevant and accessible fashion, proving that his plays have mass appeal – which is exactly what the master playwright intended.

Hamletis playing at the Playhouse, Sydney Opera House until Sunday December 6.

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