<iframe src="//www.googletagmanager.com/ns.html?id=GTM-K3L4M3" height="0" width="0" style="display:none;visibility:hidden">


Benedict Cumberbatch’s Hamlet is far too nice

Plus: a play at the Dorfman that is hooked on an addictive illusion but still packs a five-star punch

12 September 2015

9:00 AM

12 September 2015

9:00 AM


Barbican, until 31 October

People, Places and Things

Dorfman, in rep until 4 November

You can’t play the part of Hamlet, only parts of Hamlet. And the bits Benedict Cumberbatch offers us are of the highest calibre. He delivers the soliloquies with a meticulous and absorbing clarity like a lawyer in the robing room mastering a brief before his summing-up. And though he’s a decade too old to play the prince (the grave scene sets his age at about 28), he cavorts about the stage like a ballet dancer delighting in his own athleticism.

Already a subscriber? Log in

Subscribe for just $2 a week

Try a month of The Spectator Australia absolutely free and without commitment. Not only that but – if you choose to continue – you’ll pay just $2 a week for your first year.

  • Unlimited access to spectator.com.au and app
  • The weekly edition on the Spectator Australia app
  • Spectator podcasts and newsletters
  • Full access to spectator.co.uk

Unlock this article


You might disagree with half of it, but you’ll enjoy reading all of it. Try your first month for free, then just $2 a week for the remainder of your first year.


Don't miss out

Join the conversation with other Spectator Australia readers. Subscribe to leave a comment.

Already a subscriber? Log in