Hastie revamps hamlet, unearths new layers in nyc’s theatrical landscape
New York isn’t one city; it’s a relentless superposition of experiences, a constant layering of ambition and performance – a truth Robert Hastie, the British theater director, articulates with unnerving accuracy. And he’s about to prove it again, bringing a strikingly modern take on Hamlet to Brooklyn Academy of Music.
A prince reimagined: abeysekera’s disruptive approach
Hastie’s return, fresh from overseeing the Broadway revival of Operation Mincemeat, signals a bold shift. This isn’t some slavish imitation of the National Theatre’s 2025 production; it’s a deliberate excavation, anchored by Hiran Abeysekera’s performance as the Danish prince. The actor, previously known for his captivating portrayal of Pi Patel in Life of Pi, brings an immediate, almost unsettling directness to the role – a quality Hastie emphasizes, noting Abeysekera “doesn’t look like any of the Hamlets we’ve had before.”
“He has a playful—sometimes confrontational, sometimes threatening, often mischievous—but always direct and sympathetic connection with an audience,” Hastie explains, hinting at a radical reimagining of the classic tragedy. The production itself, designed by Ben Stones, eschews traditional grandeur, opting for a deliberately jarring aesthetic: a “slutty little earring” and a frantic swig from a Dom Pérignon bottle amongst the courtiers’ accounts of the late king’s ghost – a visual shorthand for Hamlet’s fractured psyche.
Navigating the nyc theatrical ecosystem
This isn’t Hastie’s debut in the city. He’s keenly aware of New York’s fragmented theatrical identity, recognizing it as a “many cities superimposed on top of each other.” The premiere on April 26th will undoubtedly ignite a conversation, adding another layer to the play’s already rich history at BAM, which has hosted over twenty previous productions since 1861.
Abeysekera, however, is focused on something more immediate. “This play is so up to the audience,” he observed, “I want to see what New York will bring to my performance.” He's deliberately eschewing a rigid adherence to the text, experimenting with audience engagement – transforming soliloquies into interactive dialogues rather than formal recitations. He’s seeking a genuine exchange, a feeling he experienced vividly during his time with Life of Pi, where the audience’s responses fueled the performance.
Despite the excitement, a note of apprehension lingers. “I may have taken for granted the size of Hamlet and what it means to perform it at the National,” Abeysekera admits. “I think I may have underestimated the impact that it would have and the weight of it all.” The pressure, he reveals, was initially a subconscious burden, only fully realized after the London run concluded. He’s eager to confront that feeling anew, trusting in New York’s unique energy to illuminate the play's complexities.
Hamlet runs at BAM from April 26 – May 23, 2026.