Ivo van Hove’s “Hamlet” at the Odéon-Théâtre de l’Europe: A Contemporary Take on a Classic

As the enduring legacy of William Shakespeare’s family tragedy – the untimely loss of his son – continues to resonate, exemplified by films like “Hamnet,” the Odéon in Paris is currently hosting Dutch director Ivo van Hove’s stage adaptation of “Hamlet,” in collaboration with the Comédie-Française from January 21 to March 14, 2026. This production invites reflection on Shakespeare’s continued relevance, echoing the sentiments of Polish Shakespeareologist Jan Kota in the 1960s, who argued that Shakespeare’s works offer both historical discourse and a direct reflection of contemporary issues. In a world marked by anxiety, “Hamlet” acquires a heightened emotional intensity, emphasizing the fragility of life against a backdrop of personal crisis and global chaos.

Two Approaches to a Timeless Tragedy

Both Chloé Zhao, with her film “Hamnet,” and Ivo van Hove, with his stage production of “Hamlet,” delve into the emotional core of the story, albeit through different approaches. Zhao focuses on the perspective of Shakespeare’s wife, Anne Hathaway (Agnes in the film), while van Hove centers the play on Hamlet’s internal world. Both directors embrace a raw, emotionally charged style, reflecting the gravity of human tragedy in an age of alienation. Zhao sees a connection between Agnes and the natural world, while Shakespeare finds solace in theatre, sublimating his grief into his art. Van Hove, however, integrates elements of contemporary popular culture – the rapid flow of social media content and references to pop music – into his production, reflecting Hamlet and Ophelia’s thoughts and feelings.

In Focus: Van Hove’s “Hamlet”

Ivo van Hove is well-known to Parisian audiences for his theatre and opera productions, including “The Glass Menagerie” and “Antigone” with Juliette Binoche. His collaboration with the Comédie-Française has already yielded three productions – “Electra/Orestes,” “The Damned,” and “Tartuffe” – making “Hamlet” a return to familiar territory with a trusted cast and creative team. Christophe Montenez takes on the role of Hamlet.

Montenez portrays Hamlet as a slender yet determined figure, initially presented on an empty stage. The production utilizes close-up video projections of Hamlet’s eye, drawing the audience into his mind, visualized as a labyrinth. This is punctuated by loud rock music, representing Hamlet’s inner monologue. Van Hove’s direction focuses on Hamlet’s subjective experience, prompting empathy for his descent into hatred and violence. The production explores the idea that violence is increasingly accepted as a means of resolving conflict, a trend Shakespeare warned against.

A Concentrated and Contemporary Vision

The stage design, featuring a wooden platform and mobile curtains, creates a sense of a “stage within a stage.” Van Hove, along with playwright Bart van den Eynde, has adapted the play, using approximately one-third of the original text , resulting in an intense and fragmented performance. The program, designed like a newspaper, includes an interview with translator Frédéric Boyer, who aimed for a modern French translation, with the exception of the “Mousetrap” scene, which retains a more Shakespearean tone.

The cast has been streamlined to focus on the core relationships driving Hamlet’s story – Ophelia, Gertrude, Claudius, Horatio, Laertes, and Polonius. Several actors play multiple roles, reinforcing the idea that the production takes place within Hamlet’s fractured mind. Guillaume Gallienne embodies both Claudius and the ghost of Hamlet’s father, representing conflicting paternal figures, while Jean Chevalier plays both Laertes and Fortinbras, symbolizing a novel generation’s perspective.

Three Stages of Descent

Van Hove divides the play into three stages. First, Hamlet believes theatre can reveal truth and potentially change the world. He remains detached from society, grappling with his father’s death and mother’s hasty remarriage. Second, Hamlet realizes theatre’s limitations, blurring the lines between reality and performance, leading to Polonius’s death. Finally, inspired by figures like Laertes and Fortinbras, Hamlet embraces violence, becoming consumed by revenge.

The production utilizes lighting, video projections, and costume changes to underscore Hamlet’s radicalization. The characters gradually transition from elegant attire to military-style clothing, reflecting their descent into conflict. Even in the final scene, the characters are marked with neon “poison” makeup, emphasizing the inevitability of destruction.

The Limits of Theatre, the Triumph of Violence

While praised for its innovative approach, van Hove’s production has faced criticism for its departure from the original text and its reliance on contemporary references. However, this willingness to re-imagine the classics offers a fresh perspective on enduring themes, inviting audiences to engage with Shakespeare’s work in a new and meaningful way.