As an NSTA Representative, I had the pleasure of attending Hurstpierpoint College’s powerful performance of Shakespeare’s Hamlet on Wednesday 12th November 2025. Impressively, in this performance the characterisation and language of Shakespeare’s unique and complex revenge tragedy were vividly brought to life before a captivated audience through thoughtful and detailed vocal and physical acting by every member of the cast.
Hurspierpoint’s interpretation of Hamlet was set on a London Estate in the present day. The juxtaposition of the opening vulnerable patriotic solo to the powerful montage of media depicting ‘Broken Britain’ absorbed the audience into the dynamic context of this creative retelling immediately. The street art created by a Hurst pupil under the alias Elio, added a unique and bespoke element to the contemporary world created by this production. Certainly, the imaginative and careful direction by the talented Mady Summers was evident throughout. This specific modern context was not only engaging but also thought-provoking, truly demonstrating the ways that, in the right hands, Shakespeare’s works remain utterly relevant.
The minimalistic set and use of thrust staging with the atmospheric lighting design were striking and dynamic, managed seamlessly by Jess Dinmore and Alex Wintle, and ably assisted by Oli, Jacob, Matthew and Lex – pupils past and present. Transitions were swift and fluid, enhancing the clarity and pace of the narrative, and details such as the punchbag allowed for violence to be ever present. This prop choice also allowed for an interesting connection to be made between the internal conflict of both Hamlet and Claudius as they, at times, literally punched out their emotions during soliloquies. Alex Ward’s sound design was also integral to the creation of mood and to sustaining an innovative contemporary context.
In the opening section and at key points, the Shrugs and Sighs accompanied by the whole cast punctuated the performance with effective energy and atmosphere, creating the necessary backdrop of anarchy and corruption constantly bubbling beneath the surface. Finn’s brilliant use of physicality and vocals as Horatio personified this precarious and unstable environment in the ‘Estate of Denmark’, effectively foreboding the tragedy to come. Dylan and Freddie as Marcellus and Bernardo worked well with Finn to convey effective storytelling whilst holding their characters’ strong presence on stage. In the moments that characters witnessed the Ghost, Thomas’ looming physicality in shadow and resonant vocals conveyed a convincing and formidable portrayal of Old Hamlet with great effect.
Early on, the scene was set for Jem’s skilful portrayal of the complex Hamlet to begin its fascinating journey throughout the play, beginning with the simplicity of his physical choices that were so clearly in contrast to everything and everyone around. Every word he spoke was communicated with clarity and meaning from beginning to end. He was brave and engaging, showing an incredible variety of emotion and tension. He went, for example, from a mature handling of the contemplative ‘To be or not to be’ soliloquy to tenderness then fraught volatility as he instructs Ophelia, ‘to a nunnery, go.’ His performance was highly engaging throughout as he executed this gargantuan role with bravery and great skill to achieve a nuanced performance evoking a full spectrum of emotions from the audience, including an adept use of comedy to both cut through and highlight the tragedy. Jem’s Hamlet was a performance that would not have looked out of place on a professional stage.
As Hamlet’s antagonist, Hamish succeeded in bringing out the true moral complexity within Claudius’ character that can be somewhat overlooked. He began by conveying a new powerful leader, able to control all but one around him. Dante and Max as Rosencrantz and Guildenstern showed their innocence and susceptibility to Claudius’ manipulation and provided just the right level of comedy as the classic duo whilst also allowing for the heartbreaking betrayal of their friend to shine through. In the role of Claudius, Hamish transformed from gangland leader to a man wracked with guilt before becoming increasingly frightening as a character desperately trying to maintain control.
Katie showed excellent character progression as Gertrude, from the flirtatious new wife enjoying the power she has over Claudius to the broken mother who has seemingly lost control of everything and everyone around her. A true highlight of the production was the electrifying ‘closet scene’ between Hamlet and his mother where the brave creative choices of both Jem and Katie transported the audience into a completely new emotional realm. Having seen many productions of Hamlet both on stage and on film, I can say that I found this version of the infamous ‘closet scene’ one of the most convincing and captivating – a significant achievement when considering the ages of the actors.
Like Katie, Matilda succeeded in portraying greater intricacy in the female characters of Hamlet than other interpretations might. As Ophelia, Matilda showed vulnerability and evoked sympathy whilst also showing a certain strength and poignant understanding of the world around her. Matilda’s maturity as an actor was notable in the tragic decline she revealed in her character following Polonius’ death and leading to her own.
As Polonius, Alice showed crystal clear understanding of her character’s words and intentions at all times, conveying a powerful presence and adeptly bringing both comedy and tension to the stage. Jonty, as her son Laertes, portrayed a convincing protective brother to Ophelia and showed an excellent development in his character as the play hurtled towards its conclusion, with sheer agony and venom in response to the death of his mother and sister.
Eden and Sophie as the Gravediggers brought a great comic double act to the latter stages of the play just when it is most needed. They truly set up the juxtaposition to the intense tragedy at the play’s close, which was also brilliantly heightened through the use of slow motion and excellently executed fight choreography. The contrast of bloodshed to the pure white snow falling beautifully from above provided a powerful and lasting image.
Hurst’s Hamlet was far more than a school production; it was a testament to the power of collaboration, creativity and commitment. Every cast and crew member, regardless of role, contributed meaningfully and significantly to the production’s success. A standout feature of the performance was the careful and considered progression of each character, revealing thoughtful direction and meticulous preparation by the actors. Every detail highlighted the incredible possibilities and transformative power of drama in education, truly showcasing the astonishing talent and dedication of both pupils and staff.
National School Theatre Awards
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