^{Picture: Devin de Vil}

There has been no shortage of full-length, in-depth versions of Hamlet since Shakespeare gifted it to the world in the early 1600s. So why bemoan the fact that this one isn’t the ‘real deal’? A 75-minute truncated version of one of the most performed plays ever written, conveyed almost entirely through the medium of dance instantly makes it very singular. The fact that a British theatrical legend plays the titular role is almost incidental: this is a ballet from start to finish. 

With those expectations managed, let’s focus on the show’s very real appeal. Ian McKellen is, as you might imagine, magnificent. Every word that drips disdainfully from his mouth takes you to the heart of this character’s pain. Brief snatches of those infamous soliloquys are peppered throughout, but it’s a light dusting not an avalanche. Much of the storytelling is done through dance, with Caroline Rees as the emotionally torn Gertrude and Chauncey Parsons playing the villainous, newly crowned Claudius, while Kate Rose is the lovelorn Ophelia; all of them carry the heaviness of their roles with aplomb. Luke Schaufuss (son of director and choreographer Peter Schaufuss) is a dancing dynamo as Horatio and members of Edinburgh Festival Ballet fill out the stage nicely as courtiers.

At the heart of this piece lies the role of Hamlet, played by both McKellen and dancer Johan Christensen almost as if they were conjoined twins. Christensen conveys grief, despair and anger with his body; McKellen conveys it with his voice and demeanour. A glossy production (sadly, but understandably, set to recorded music) surrounds them, which may not break any boundaries but most certainly entertains. 

Ashton Hall, St Stephen’s Stockbridge, until 28 August, 7pm (also 4pm Fridays & Saturdays).