★★★★☆
There’s Netflix, and then there’s live Shakespeare.
Choose any feeling: love, madness, vengeance, and you’ll experience it in Queensland Ballet’s stunning reimagined Hamlet, currently at the Thomas Dixon Centre.
Brisbane’s mild winter evening was a stark contrast to the beautifully gothic Denmark audiences witnessed within the Company’s home theatre in West End. From lavish velvet costumes and music by Pyotr Ilyich Tchaikovsky and Camille Saint-Saëns, to the dancers’ emotive performances, this is an unmissable retelling of Hamlet. Brisbane is fortunate to have the premiere.
Shakespeare wrote Hamlet more than 400 years ago, and there have been countless adaptations across opera, ballet, theatre, and film. But this is the first time that choreographer Leo Mujić’s bold retelling has been performed in Australia. It’s a special one.
Renowned for ballets based on literature, Mujić first staged Hamlet for the Croatian National Theatre in Zagreb in 2014, weaving contemporary movement through classical ballet in his production. He says the themes of political upheaval and uncertainty about the future are still relevant today.
As Hamlet says, ‘Time is out of joint’, and in the world right now, he says, in many ways, we are out of joint and at war with ourselves. The story could not be more topical.
The ballet follows the traditional story of the young prince returning home to Denmark after completing his studies to find his father, the king, has died, and his uncle has taken the throne and married his mother. As he seeks answers and justice, Hamlet grapples with both internal and external demons.
Meanwhile, from sword fights and poison to love, insanity, betrayal, and corruption, the constant drama unfolding across the two acts keeps the audience utterly immersed.
Edison Manuel performed Hamlet on opening night. His portrayal of Hamlet’s psychological struggles is hauntingly evocative. Libby-Rose Niederer’s Ophelia is luminous, while Georgia Swan’s Gertrude conveys emotional complexity.
Joshua Ostermann is ethereal as the Ghost. The masked dancers moving in meticulous ensemble work represent Hamlet’s dark and tumultuous inner dialogue. The entire cast is mesmerising, especially in group scenes where the stage is alive with characters and movement.
Costumes by Manuela Paladin Šabanović are a true highlight. The rich fabrics, cuts, and royal colour palettes transport the audience from Brisbane to medieval Northern Europe. Set design by Stefano Katunar and lighting by Aleksandar Čavlek, revived by Ben Hughes, enhance the gothic atmosphere.
It is fascinating to watch a grand ballet of this scale and calibre in the intimate Talbot Theatre. While the impressive stage is the size of QPAC’s Lyric Theatre, the theatre itself sits just over 250 people. The only limitation of the space is its lack of room for a full orchestra.
However, being so close to the dancers, seeing their expressions, hearing the movement of fabric and the pointe shoes fluttering across the floor, and feeling the smoky haze move through the air is an exceptional experience.
There are moments during the story where the dancers move off the stage and through the theatre. Rather than centuries and thousands of kilometres, the magic of Shakespeare is only metres away.
There may be countless ways to experience Shakespeare in 2026, but few are as transporting as this. Queensland Ballet’s Hamlet combines world-class dancing, striking design and timeless storytelling to create an experience that no streaming service can replicate. This is Shakespeare at his most haunting, most beautiful and most alive.
Hamlet is presented by Queensland Ballet and runs to 18 July at the Thomas Dixon Centre. 406 Montague Road West End Qld 4101.
Tickets are available here.
Website: https://www.queenslandballet.com.au/performances/2026/hamlet
Socials: https://www.instagram.com/qldballet/
Photo credits: David Kelly
