Serbian-born choreographer, Leo Mujić, is well-known for his interpretations of works of classical literature, transforming them through powerful visual narratives into works of dance. Critically acclaimed when it premiered at the Croatian National Theatre in 2024, this current production of Hamlet is being restaged with Queensland Ballet’s artists in Brisbane.
Mujić’s success lies in his extraordinary ability to translate the play’s spoken narrative into an exciting and relevant dance performance. Conveying this complex dark political work in a stunning new and refreshing production, he brings the sparkling dance narrative powerfully to life.
Hamlet ballet review – quick links
Leo Mujić’s modern sensibility
Brimful of emotional energy and dramatic theatricality, his interpretation is crystal clear from the first dance steps of the opening scene, cleverly set prior to the commencement of Shakespeare’s play. With great clarity, we see Hamlet’s grief-stricken reaction to his father’s death, while being introduced to the main protagonists, his mother Gertrude and his uncle Claudius, soon to be his step-father.
Other character introductions follow. Instinctively, one understands them all, recognising the underlying tensions and relationships that will produce the unfolding tragedy.
Moving at a cracking pace, Mujić’s highly imaginative choreography combines classical ballet techniques with individual fluid physicality. Sharp, stabbing movements contrast with gyrations and floor rolls, as well as the dragging of artists across the floor, offering a modern sensibility to a predominantly medieval work.
First-rate performances
The Queensland Ballet artists excelled themselves with first-rate dancing and movement conveying their individual narratives both physically and emotionally. Edison Manuel’s Hamlet is a tour de force of passionate energy, while his interaction with the masked dancers, ingeniously representing his inner soliloquies, was excellent.
Joseph Moss’s Claudius is suitably devious and evil with dance steps to match, while Georgia Swan’s Gertrude plays a sensitively conflicted mother. Libby-Rose Nieder’s charming Ophelia offered an exquisitely danced mad scene, while brother Laertes shows off Taron Geyl’s exceptional strength.
Joshua Ostermann’s Ghost, appearing much more than as written in the play, is very well realised while Rian Thompson gives a strong performance as Polonius. Horatio, Rosencrantz and Guildenstern are equally well cast. The company artists are universally splendid in their many roles and in the finely crafted ensembles.
Staging the world of Hamlet
Integral to its success, the choreography works hand in hand with music that emotionally illuminates the narrative. Assistant Choreographer and Dramaturg Bálint Rauscher worked with Mujic to create this seamlessly delivered musical score, adapted from celebrated works by Tchaikovsky and Saint-Saёns.
Extracts from well-known recordings of Tchaikovsky’s Symphony No. 5, Marche Slave and Fatum, alongside the Fantasy overture from his Hamlet are integrated with Saint-Saёns’ work. The latter’s celebrated Danse macabre is used effectively for a marvellously staged ensemble section. Additionally, extracts from his Symphony No. 3 and Les barbares, among others, provide a near perfect soundscape to support the dance narrative.
The setting by Stefano Katunar consists of sharply pointed metal grills and panels, used in various configurations, to represent Elsinore’s castle and fortifications, provide atmosphere, and give a historic yet contemporary feel to the staging.
Costume designs by Manuela Paladin Šabonović are visually sumptuous, using wonderful fabrics and rich colours. They offer a world of royal splendours, yet with a clear underlying sense of decay. A particularly impressive Ghost’s costume, with its pale-coloured gauzes layered over fading clothes, is replicated in Ophelia’s costume after death.
This is a wonderful production from Queensland Ballet and is beautifully delivered by a splendid cast of first-rate dancers.
