Hamlet : Paul Jacobs
The Ghost of Hamlet's father/Claudius : Alex Barker
Gertrude : Karen Walker
Polonius : John Morton
Ophelia : Haidee Elise
Laertes : Sam Reed
Horatio : Liam Byrne
Rosencrantz : Sam Child
Guildenstern : Mark Harrop
Osric : Richard Pedersen
Player King/Gravedigger : Richard Kirby
Player Queen : Ruth Sullivan
Francisco/Lucianus/Hamlet understudy : Chris Paddon
Director : Martin Mulgrew
Assistant Director : Ruth Sullivan
Set Design : Alex Kerr
Costume Design : Zahra Mansouri
Lighting Design : Nick Insley
Fight Choreographer : Lindsay Royan
Stage Manager : Dinah Irvine
Assistant Stage Managers : Michelle Roebuck, Lindsay Kirby
Lighting Operator : Rachel Hindley
Sound : Laurence Tuerk
Schools Liaison : Jean Carr
Set Construction : Keith Syrett, Jude Chalk and members of the cast & crew
Voice Coach : Julia Collier
Review by Tom Foot in the Camden New Journal
Hamlet hype is at an all time high with two cash-rich productions dominating the West End
and starring celebrity actors, first David Tennantt for the RSC and now Jude Law at Wyndhams.
Spare a thought then for the Tower Theatre Company, without a permanent home for eight years, and the Theatro Technis
playhouse, which somehow manages to stay afloat without any arts funding.
Now the company and the theatre have come together in a marriage of adversity - and it was good to see the new couple thriving
This is the first time Hamlet has been performed in its entirety at Theatro Technis. Its founder George Eugeniou
told me he was convinced Shakespeare's most famous play was inspired by Aeschylus's Greek tragedy The Oresteia,
a three-part trilogy first performed around 450BC.
This is likely to be the case; Shakespeare was an unashamed plagiarist, but I suspect the bard's adaptation probes
deeper into the mind of its protagonist.
Chris Paddon, an understudy on the night, played the Prince to great effect. He has an elastic face that stretched and
contorted into an empire of expressions as his character lurches maddeningly into despair, anger and sarcasm.
In a fit of rage he scrawls "Murderer" in chalk beneath the throne, which appears to have grown out of the dead earth and
is fastened to the wall by thickset weeds.
His father's ghost opens Hamlet's mind to the rotten world around him. It famously leads him to contemplate suicide, unable
to cope with the unbearable burden of consciousness and the tedium of the world in which he lives.
His woes are chiefly directed at his scheming uncle Claudius, but what was most memorable about Paddon's Hamlet was his
extraordinary "get thee to a nunney" broadside towards Ophelia. There is something wonderfully satisfying in watching this
tormented soul rise up out of his gloom by telling everyone exactly what he thinks of them - and Paddon seemed to revel
particularly in this one.
The Tower Theatre Company is a troupe of both professional and semi-professional actors that has been about
for more than 75 years. It is no surprise that this production is expertly performed and thoughtfully directed, with clever
illuminations and moving music. Recommended.