Hastie brings hamlet's fresh face to brooklyn stage
New York, according to British theater director Robert Hastie, isn’t a single city; it’s a layered tapestry of experiences, a relentless superposition of urban realities. And he’s about to inject a fiercely contemporary take on Shakespeare’s Hamlet into Fort Greene, Brooklyn – a production already generating significant buzz.
Sri lankan star abeysekera revitalizes the prince
Hastie, fresh off ushering in a new cast for his Olivier Award-winning Operation Mincemeat on Broadway, is returning before long to BAM. The April 26 premiere of his modern-dress interpretation of Hamlet promises a radical reimagining, spearheaded by 40-year-old Sri Lankan actor Hiran Abeysekera, whose breakout came with his portrayal of Pi Patel in the 2022 West End production of Life of Pi – a role that subsequently transferred to Broadway and earned him a Theatre World Award.
“He doesn’t look like any of the Hamlets we’ve had before,” Hastie stated, emphasizing the actor’s unique approach. “He has a playful—sometimes confrontational, sometimes threatening, often mischievous—but always direct and sympathetic connection with an audience.”
A production rooted in the city's complexity
The production itself, designed by costume and stage designer Ben Stones, embraces a strikingly modern aesthetic – think a deliberately ‘slutty little earring’ and a manically swigging Dom Pérignon. But more importantly, Abeysekera’s performance is rooted in a palpable emotional resonance, holding an audience of nearly 1,000 captivated in London. Hastie’s original staging at the National Theatre in London, where he currently serves as deputy artistic director, has inspired numerous subsequent productions at BAM since 1861 – a testament to the play’s enduring relevance.
“This play is so up to the audience,” Abeysekera explained. “I want to see what New York will bring to my performance.” He’s deliberately eschewing a traditional approach, focusing on collaborative engagement with the audience through the soliloquies – transforming them into a dynamic dialogue, rather than a mere recitation of verse. He recalls the heightened audience participation he witnessed during Life of Pi, eager to replicate that energy in this new setting.
Navigating belonging and artistic identity
Offstage, Abeysekera remains remarkably grounded, expressing a quiet humility and a palpable sense of awe as he prepares for the month-long run. He candidly admits to a lingering apprehension, acknowledging the sheer scale of Hamlet and the weighty responsibility it entails. “There’s a real physicality and emotional depth to your Hamlet,” he muses. “I’ve wondered what they are to him—the audience—why he feels comfortable telling them so much. I think it’s a survival tactic, right? If he doesn’t speak about it with the audience, he’ll probably explode with all that is going on.”
Adding another layer to this already complex narrative, Abeysekera’s personal journey reflects a persistent struggle with a sense of belonging, despite two decades spent living and working in Britain. The legal realities of his visa – restricting his time outside the country – serve as a constant reminder of his status as an ‘outsider’. Yet, within the British art scene, particularly in the theater, he finds a sense of acceptance and appreciation. “It’s due to the love that I’ve been getting from everyone,” he concludes.