400-year-old ‘Hamlet’ flourishes in the age of TikTok

He’s on screen, onstage, on tour, online and in song. “Hamlet” — William Shakespeare’s masterpiece about a moody Danish prince — seems to be having a moment.

A National Theatre production has landed at the Brooklyn Academy of Music starring Hiran Abeysekera. There’s a movie version set in London’s South Asian community starring Riz Ahmed. Anthony Hopkins, at 88, is delighting fans on TikTok with some of Prince Hamlet’s “To be, or not to be” soliloquy. The movie “Hamnet” — the fictionalized story of loss that inspired the creation of “Hamlet” — earned Jessie Buckley an Oscar. Taylor Swift’s “The Fate of Ophelia” — that’s Hamlet’s ex — went to No. 1 on the Billboard singles chart. Eddie Izzard is taking her one-person production of the play on a worldwide tour.

Four hundred years on, “Hamlet” — whose seemingly quite modern antihero is endlessly mulling over what to do after his uncle murdered his father and married his mother — is still giving.

Want even more? There’s even a “Hamnet” play, adapted from Maggie O’Farrell’s original novel, and the Royal Shakespeare Company is taking it on a UK tour. Shakespeare & Company plans a northeastern US tour of “Hamlet” this year. There’s a Canadian production of “Hamlet, Sweet Prince,” using a queer, contemporary lens. The Acting Company in New York will have a modern-verse version led by a woman and the Peruvian theater company Teatro La Plaza recently presented a version off-Broadway starring eight Spanish-speaking actors with Down syndrome.

Harvard’s Jeffrey R. Wilson, a Shakespeare scholar, says “Hamlet” is perfect for our era, when the crush of bad news has triggered constant, existential check-ins, like: “Hey, how’s everyone hanging in there?”

“People are exhausted from the onslaught of awfulness in the world,” he says, “and ‘Hamlet’ gives audiences both permission to ‘go there’ to explore those emotions and a tool kit of ideas to help us process angst.” The plethora of works are markedly vibrant and fresh, from the Hamlet in Brooklyn who wears a beanie to the one who enjoys Bollywood-style dances in London.

“Great plays survive not because they remain untouched, but because they can continue to be transformed,” says director and playwright Chela De Ferrari, from Teatro La Plaza, whose neurodiverse “Hamlet” is a visceral and urgent call from those often excluded from cultural narratives.

“Working with actors with Down syndrome and cognitive disabilities brought me back to something essential in ‘Hamlet’: that beneath its philosophical brilliance there is an exposed human being asking, in one way or another, how to exist in a world that keeps misreading him,” she said.

In one of the show’s most potent moments, an actor attempts to imitate Laurence Olivier’s delivery of Hamlet’s “To be, or not to be” soliloquy with an image of the famous actor projected on a screen. It takes on a new urgency when spoken by someone whose very right to be in public or artistic spaces is often questioned.

“I like to imagine a kind of continuity between our actors and all the great actors who have carried the play before. I believe Shakespeare lives in all of them,” says De Ferrari. On school trips to see Shakespeare plays, filmmaker Aneil Karia always felt like they were an arm’s length away. “I felt like I was primarily watching an intellectual experience unfold and I had to use my brain to keep up with the plot and the language and everything like that,” he says.

He teamed up with Ahmed and screenwriter Michael Lesslie for a stripped-down, modern-day retelling of “Hamlet” that leans into the title character’s unease at being complicit in a corrupt business system. “That feels so pertinent to the moment we’re in politically and everything. It feels like the question a lot of people are asking,” says Karia. “It feels like these stories are actually a conversation through time itself.”

Hamlet here parties at a neon-drenched nightclub and delivers his soliloquy while hurtling down rain-slicked London streets in a BMW, taking his hands off the wheel as a truck approaches head-on. To be, or not to be, indeed. “The best best-case scenario here is that it’s opening up Shakespeare to audiences who didn’t think it was for them, or who struggled with it previously,” says Karia, whose film starts streaming Tuesday.

Associated Press