As an NSTA ambassador, I had the pleasure of attending Newton Prep School’s ambitious and visually arresting production of Hamlet on Thursday 20th November 2025. Under the imaginative guidance of Charlotte Levy and Phoebe Graham, the pupils undertook one of William Shakespeare’s most psychologically intricate plays and presented it with remarkable creativity, maturity, and commitment. Their decision to frame the tragedy within a circus aesthetic proved both bold and thematically resonant, illuminating Shakespeare’s exploration of illusion, deception, and the roles we adopt in public and private life.
Shakespeare’s Hamlet follows the young Prince of Denmark, who returns home from university to find his father dead and his mother hastily remarried to his uncle, Claudius. When Hamlet is visited by the ghost of his father, he learns that the new king – his uncle – is responsible for the murder. Consumed by grief and moral uncertainty, Hamlet sets out to uncover the truth and avenge his father, but his hesitation, feigned madness, and philosophical introspection set off a chain of tragic consequences.
The production began the moment we entered the refreshment area, where performers introduced the circus theme in character as clowns, offering tickets and programmes. This immediately set the tone for a world where performance and reality are intertwined, an idea well suited to Hamlet. Upon entering the theatre, the visual storytelling continued. We encountered Ophelia presented as a marionette doll, an effective metaphor for her lack of control and hinting at her emotional entrapment within the story. The low-level lighting and shadowed set created an atmosphere thick with foreboding, immediately signalling the darker undercurrents of grief, betrayal, and moral decay that drive the plot. This design choice proved consistently effective, using visual cues to illuminate themes without needing to overstate them verbally.
Setting the play in a circus worked particularly well, echoing Hamlet’s exploration of illusion, performance, and deception. The big-top staging provided a visually striking setting, while the darker elements of the set helped maintain the tension and unease central to the play. Lighting was used effectively, especially the cyclorama, which created silhouettes to depict the king’s murder. This was a striking and theatrical choice that drew the audience’s focus and conveyed the action clearly without showing it explicitly. The circus concept worked strongly here, blurring reality and performance in a way that mirrors Hamlet’s own struggle to distinguish truth from pretense. The cast introduced their characters with expressive gestures and clear intentions, setting a confident pace for the action that followed.
The title role of Hamlet is formidable for any actor, and it was particularly impressive to see such a young performer inhabit it with such conviction. Nathan delivered a compelling portrayal, bringing intensity and emotional nuance to the character. His expressive physicality added depth to Hamlet’s inner turmoil, and his vocal delivery remained clear and controlled even in the most conflicted moments. His performance was especially strong in the final act, where he navigated Hamlet’s shifting moods with assurance and a physical presence that suited the character’s thoughtful, troubled nature. His interactions with the ensemble – particularly in scenes where Hamlet observed or challenged those around him – were highly effective and helped anchor the story’s emotional dynamics. This was a commendable performance that demonstrated both promise and a genuine engagement with one of Shakespeare’s most demanding roles.
The rest of the performances from this cast were no less impressive. Thomas gave a strong performance as Claudius, balancing authority and suppressed anger without tipping into exaggeration. He maintained good pace and presence, offering a steady anchor for the court scenes. Jalal offered a thoughtful and steady portrayal of Horatio, grounding the scenes with calmness and sincerity. His measured gestures and consistent clarity of speech highlighted Horatio’s role as Hamlet’s loyal confidant and moral anchor. Kennedy portrayed Gertrude with sincerity, delivering secure and clear vocal work. Maya brought expressive authenticity to Ophelia, offering a thoughtful performance supported by confident vocals. As King Hamlet (the Ghost), Adam had a commanding voice and strong stage presence. Hugh demonstrated well-judged comic timing as the gravedigger, providing light relief without disrupting the overall tone. Matteo showed strong commitment to character throughout, including during the pre-show interactions. Harry N also maintained consistent characterisation and worked well within the ensemble dynamic. Sebastian delivered a steady performance as Laertes, with clear vocals and solid character work. Harry W portrayed Polonius with similar steadiness, offering impressive and consistent characterisation.
The murder and marriage sequence was handled tastefully, using the cyclorama and backlighting to create clear silhouettes that communicated the action effectively. Distinctive costume elements also helped the audience identify characters easily. This was a particularly memorable moment – simple, refined, and well executed.
Shakespeare is never an easy undertaking, especially a play as well known and psychologically complex as Hamlet, and particularly for this age group. Communicating its story clearly to a modern school audience is challenging, yet the cast and crew achieved this with clarity and confidence. They succeeded in making the narrative accessible both to younger pupils and to those unfamiliar with Shakespeare. Newton Prep’s Hamlet was clear, engaging, and easy to follow, thanks to the cast’s thoughtful portrayals and the creative use of lighting and staging. This was a well-realised school production that showed hard work, teamwork, and imagination at its best.
National School Theatre Awards
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