Is Hamlet actually mad? That’s a question that has bedeviled scholars since the first performance of Shakespeare’s greatest play and is rarely addressed in modern productions. Most stagings I have seen (at least 20 on stage, film or TV that I can recall) assume that the Melancholy Dane’s antic disposition is a put-on job to distract from his investigation of his uncle Claudius murdering the king, Hamlet’s father. Robert Hastie’s elegant, somewhat flawed production imported from the National Theater to BAM’s Harvey stage, leaves the question of the hero’s sanity open and thus delivers an intriguing and challenging interpretation of one of the world’s most produced classics. 
Hiran Abeysekera in Hamlet.
Credit: Julieta Cervantes
Set in an opulent ballroom (Ben Stones designed the majestic sets and smart costumes, creatively lit by Jessica Hung Han Yun) and starring a youthful, frenetic lead (vibrant Hiran Abeysekera), this Hamlet takes a fresh, different approach to a familiar classic and finds new insights.
Take for example the closet scene wherein Hamlet murders the elderly advisor Polonius mistaking him for the treacherous Claudius. Without revealing any spoilers, Hastie’s staging is truly shocking and surprising, causing the audience to doubt Hamlet’s sanity…and perhaps their own. Hastie then has the Dane address empty air rather than the actor playing the ghost of his father (as per usual), further complicating our perceptions. Was the ghost an illusion the whole time, a figment of Hamlet’s fevered imagination? 
Hiran Abeysekera and Matthew Cottle in
Hamlet. Credit: Julieta Cervantes
