To Be or Not to Be? Becoming Hamlet Let the Audience Decide

An inventive adaptation of Shakespeare's tragedy turned theatergoers into Hamlet's confidants, critics, and occasional scene-stealers.

Nestled inside the 52nd Street Project is the Five Angels Theatre, which recently hosted Becoming Hamlet, a new adaptation of Shakespeare's Hamlet by Damon Horowitz, who guided audiences through the titular role.

In stark contrast to a normal night at the theater, director Sybille Bruun invited us to become participants: “human beings whose voices matter, whose responses are authentic, and whose quality of presence shapes what happens on… stage.”

Scattered among the seats were facilitators who guided the audience through different moments. Instead of simply listening to long soliloquies, viewers were asked to converse with, reply to, argue with, and echo Hamlet.

It was an interesting take on a piece that has been done to death, turning an always-depressing and occasionally tedious play into an ever-changing ensemble piece. No two performances would have been quite the same. Suddenly, lines that may not have landed in previous iterations worked, as when Hamlet battled himself with questions and actually received answers from the Greek chorus-esque faces in the crowd.

Condensed into one act and just 100 minutes, this version of Hamlet used lines from Shakespeare's original script but divided them among audience members, allowing them to contribute to the play by mirroring Hamlet's thoughts or challenging him.

For the most part, these moments were well selected, though there were times when the participation felt a little overdone and interrupted the rhythm of a scene. It's a tension we've encountered in other experimental productions, including Chalk Outline Portal, where audience involvement was both exhilarating and occasionally uncomfortable. While some people felt more on the spot than others, there were clearly a few self-appointed performers in the audience longing for their moment to shine.

Overall, the approach added a fascinating layer to an oft-visited piece, and I'm sure it made each performance a fun exploration for the actors. One of my favorite moments was seeing Hamlet receive a response he didn't expect. His organic surprise, and his ability to respond and roll with it, brought an incredible moment of truth to the scene.

The whole evening was considered and clever. The facilitators roamed the crowd, at times encouraging vocal participation with scripted handouts and at others interjecting themselves. Their integration was well rehearsed and less intrusive than expected.

You could also elect to sit in nonparticipatory seating, which I appreciated, if you wished to watch in a more traditional theatrical manner—or if audience participation was your worst nightmare.

The set was simple and open, with several distinct levels that created interesting shapes and allowed for dynamic blocking onstage. With the ghost of Hamlet's father appearing from above and behind the audience, you really did feel like a trusted adviser or part of the Danish court. The costumes were edgy, modern, and distinct for each character.

Becoming Hamlet would do well touring not only other theaters and cities but also schools. I believe this kind of Shakespeare would be a welcome and engaging change for students who are often confounded by complex Elizabethan language and hidden meanings, usually taught in a dry and sterile way.

When Shakespeare is articulated like this, when you get to have a conversation with Hamlet, suddenly things become clear and the prose really sings.

I hope the next generation gets an opportunity to watch something like this, so they too can inherit a love of Shakespeare.