Space Hamlet Review: new sci-fi puppet musical crash lands into London
24 October 2026 | 14:30 | The Cockpit, London (Marylebone)
⭐⭐ | PR - Invite
Sci-fi musical Space Hamlet does exactly what is says on the tin, or rather its poster. It combines Shakespeare, Star Wars and Avenue Q all into one. Norwich-based director April Nash takes 'being silly' very seriously. And this is a playful production, as Nash not only directs the show, but is also the choreographer, producer and puppetry director/maker.
The narrative reimagines the story of Prince Hamlet (Nic Gordon) in a galaxy far, far away, where the Denmark System is ruled by Space Vikings and epic battles rage amongst the stars. Following the murder of his father King Ham (Shem Jacobs), Prince Hamlet embarks on a cosmic quest for vengeance. Through a series of melodramatic events, he beheads a three-eyed Yoda puppet, and is sent to the front line of battle by his uncle Claudius (Lucas Fox), all while his mother Queen Gertrude (Lauren Bryant) tries to keep him from harm.
The Cockpit, Marylebone provides an intimate space where the audience surround the actors. The upstage area transforms into a dramatic spaceship, a king's audience room, and later a trap on an unidentified planet. There is a lot to take in, as well as video projections above to give a sense of location. There is a resourceful, DIY feel to the production (scenic design by Dan Sturman), especially where human hands are visible behind the mechanics of doors. Everything is quite eccentric and gleefully hobbyist.
In Jo Myers' costume, Hamlet has the appearance that he shops for black leather on Camden Market. The surrounding cast wear colourful and shiny materials that come close to fancy dress, leaning into its parody style rather than the conventional 'well-made musical'. When Ophelia (Ruby Bardwell-Dix) returns for Act Two, she enters with the light blue dress she wore from the previous act, but this time with red stains of fabric pinned to the same dress, which removes us from the illusion of passing time.
Nash's puppetry work is perhaps the night's biggest feature, adding to the random-ness of it all. Master Yoda magically gains a third eye, and even when beheaded, continues to dispense some of his legendary wisdom. The three Fates appear as what look like Onix-inspired heads from Pokémon to deliver a prophecy of life expectancy. The greatest example of this puppetry comes from a giant, multi-operated arachnid with very hairy legs, as Hamlet battles the ultimate beast on his quest.
Composed by Sturman, and with lyrics and book by R.C. Staab, the glam-rock musical numbers don't particularly stick with me following the performance. Although Bryant's (Gertrude) clear and powerful voice makes a strong impression. Nic Gordon's Hamlet has potential to grow, but ultimately lacks the energy and intensity of a main character. The whole company unite at times, though I wish that final scenes would demonstrate more signs of togetherness and climax.
The choreography and comic duels are generally timid. In a dramatic swordfighting scene, a character is killed by a weapon that finds a safe passage between her arm and body. In such a close, off-West End space in thrust, we see all the joins that hold the 'fantasy' together.
There is a lot of heart put into this production of Space Hamlet, where it requires more chivalry and tidy glamour to be really out of this galaxy. Shakespeare's eternal question 'To be or not to be' turns up in a very unexpected setting that may not stand the test of time, or indeed space. You have just one week to catch this adventurous and somewhat undefinable new musical, joining a wildly creative and multi-genre journey.
Running at The Cockpit, London until the 31st October: https://www.spacehamletmusical.com/
