Gabbi Kosmidis in Hamlet, Sweet Prince | Photo by Matthew McClaren/Wut Storytelling
Hamlet, Sweet Prince is a pared down, queer-oriented version of the immensely popular Shakespeare play. Like most modern productions, this has a concept. Denmark here is a corporation. Our royal figures are finance bros (a descriptor that very much includes the ladies) and their adjacent hangers-on. Though it would likely have worked for this conceit, in its world of mergers and takeovers, the ultimate usurping of the crown by Fortinbras has been done away with entirely.
One of the most devastating omissions for me was the loss of “Alas, poor Yorick!,” which would make sense because this is all meant to take place in offices, however, a small portion of the gravedigger interaction is still here, which is somewhat baffling.
Borrowing some vibes from Succession, the design elements of director Alex Jodi Verge’s efficient, moody production are on point!
Kenzia Dalie’s set is an oppressively bleak, greyscale office. The translucent panels are a clever element—conjuring the contemporary, urban equivalent of a gloomy castle passageway. There is some briefly confusing spatial inconsistency as the areas flanking the main playing space are sometimes considered part of a single room, but at other times are entirely separate spaces.
Franco Pang’s lighting is genuinely eerie as the overhead florescent tubes and practical floor lamps glitch out during the spectral appearance of Hamlet’s late father. And, as the ghost, Andrew Pawarroo is an especially commanding presence. The speed and dexterity of his entrances are impressively bold and authoritative.
Lucy Ellis’ sound design is an effective atmosphere-builder, but the ominous soundscape for that first ghostly apparition is far too loud, undermining the tension and obscuring the text (a cardinal sin with Shakespeare).
Ellyn O’Keefe’s costumes complete the cool aesthetic of a contemporary aristocracy, fashionable yet understated. I especially loved the vaguely 1970s flavour of Jonnie Lombard’s Ofelia, whose hair and posturing feels decidedly retro in way that quite thrilled me. Though sometimes a bit stilted, their portrayal is compelling on its own terms. Their final mad scene, though notably brisk, is suitably poignant.
The performances, overall, range from serviceable to deeply persuasive and insightful. Some other stand-outs include: Paul Stafford’s grounded, intimidating Claudius and HannaH Sunley-Paisley’s Polonius, gender-flipped here as Laertes and Ofelia’s mother, who is very tall, very funny, and a haughtily compelling presence throughout.
Though our titular, angst-ridden sad boy has all the feels, Gabbi Kosmidis’ portrait here isn’t fixated on Hamlet’s grief or even their supposed “madness.” Channelling some of Sara Gilbert’s Darlene Conner from Rosanne (their look and vibe is such a distinct echo for me), Kosmidis is playful and meditative. Dressed, canonically, all in black, they bounce from sullen to mischievous. This isn’t a radical or surprising portrayal, but it is solidly emotive and honours the text.
The most disappointing aspect of this rendering, for me, is the relationship between Hamlet and Horatio (Callan Forrester). When Horatio holds the dying Hamlet, their “sweet prince,” I want to feel the intense mourning. Some homoerotic tension throughout is also greatly helpful. But Horatio’s presence is just too casual here, lacking the pathos needed to earn our full investment in that final moment between them.
While the official show notes indicate that Hamlet’s big dilemma and inner conflict are rooted in inherited patriarchal violence, I don’t think this production, while watching it, really punches-up that concept—I mean, no more than the play itself suggests such a pattern. That said, upon reflection, the idea does resonant. Overall, Hamlet, Sweet Prince has enough brooding atmosphere and authentic emotionality to satisfy. The understated, lingering blood smear that marks the spot of Polonius’ death, a haunting detail with thematic weight, is an image that has stayed with me.
Hamlet, Sweet Prince
April 16 to 25, 2026
That Art’s Group Rehearsal Hall
(1110 Dupont St)
2 hours, 30 minutes (including intermission)
Paul Stafford & Gabbi Kosmidis in Hamlet, Sweet Prince | Photo by Matthew McClaren/Wut Storytelling