Hamlet, Prince of Denmark
Ex Machina & Côté Danse (Quebec City & Toronto)
Presented with Community Partner Bard on the Beach Shakespeare Festival and Théâtre la Seizième
Note: This performance contains strobe lights
Since its writing, circa 1599-1601, William Shakespeare’s play The Tragedy of Hamlet, Prince of Denmark has been subject to countless interpretations.
Eschewing words, Ex Machina + Côté Danse’s Hamlet, Prince of Denmark reinvents the archetypal drama into something raw and immediate. Canonical soliloquies that parse the darkest of human instincts and actions: corruption, suicide, betrayal and murder find a riveting new form.
Expanding upon their previous collaboration Frame by Frame (inspired by the work of visionary animator Norman McLaren), co-creators Robert Lepage and Guillaume Côté bring their respective genius to Shakespeare’s most famous work. Côté embodies the central character, wrestling with existential questions of being and nothingness, while Lepage, a master of multiple theatrical disciplines, infuses the Bard’s epic tale of intergenerational trauma with contemporary relevance.
With surtitles functioning as a kind of a Greek chorus, blood-red velvet drapery and pools of golden light from designer Simon Rossiter, the shadowy realm of dark motives and oedipal longing are made manifest. Composer John Gzowski’s original score further fleshes the narrative as the nine members of Côté Danse take on the roster of characters: Hamlet and Ophelia, Rosencrantz and Guildenstern, Horatio and Laertes, Gertrude, Claudius, and Polonius.
Through the universal medium of dance, the story is told anew, a play without words, but rich with its own language.
Ex Machina is funded by the Canada Council for the Arts, the Conseil des arts et des lettres du Québec and the City of Québec.

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Presentation Supporters
Anndraya Luui
Sonya Wall
Hawthorne Charitable Foundation
Top image: Ex Machina & Côté Danse, Hamlet, Prince of Denmark © Sasha Onyshchenko.
March 18-21, 2026 | 8pm
Additional Performance Added
Vancouver Playhouse
600 Hamilton Street
Running time: 1 hour 40 minutes (no intermission)
Hours: 10am-4pm, Monday–Friday
Phone: 604.801.6225
Email: boxoffice@dancehouse.ca
7:15pm each night in the Upper Lobby
Thursday evening’s pre-show chat will be in French.
Wednesday, Friday and Saturday’s chats will be in English.
Guest: Menno Plukker, Agent for Ex Machina
Host for the 18th: Christopher Gaze, Founder and Artistic Director of Bard on the Beach Shakespeare Festival
Host for the 19th: France Perras, Bilingual actress who often works with Théâtre la Seizième
Host for the 20th & 21st: Mary Hartman, Director of Education at Bard on the Beach Shakespeare Festival
⚠ Limited tickets available
- March 18, 2026 - 267 seats available
- March 19, 2026 - 111 seats available
- March 20, 2026 - 0 seats available
- March 21, 2026 - 27 seats available
“We are witnessing something that will go down in history. The cast is fabulous. The staging is brilliant, the choreography magnificent.”
Carole Trempe, Journal des citoyens
“Choreography feels both fluid and hunched, elegant with a hint of eeriness, an intriguing blend of contemporary aesthetics and balletic precision.”
Deanne Kearney, The Dance Debrief
A thrill... An exquisite theatrical adventure.”
Warner Crocker
Côté Danse
Côté Danse burst onto the Canadian dance scene in 2021, thanks to the collaboration between Choreographer Guillaume Côté and Producers Etienne Lavigne and Anisa Tejpar. Since then, they have been actively presenting a range of original works and immersive dance experiences.
Under the artistic direction of Guillaume Côté, Côté Danse establishes a unique vision, combining classical dance knowledge with captivating geometries and intense human connections. Their style is characterized by contemporary lines, sleek contours, and refined athleticism, creating a distinct and dynamic aesthetic.
Through collaborations with a diverse group of designers, artists, and partners such as Robert Lepage, Mirari Studios, and Son Lux, Côté Danse has successfully produced four full-length productions. The company attracted significant attention since its very beginning, with 140 performances in 23 cities in its first four years of existence.
Ex Machina
Led by artistic director Robert Lepage, Ex Machina creates, produces and disseminates multidisciplinary artistic works, most often theatrical.
The company brings together creators from several fields of activity and offers a broad range of artistic productions: original plays written and performed solo or collectively, plays based on existing texts, productions in which various disciplines (dance, music, museology) mingle with theater, operas and multimedia productions featuring a predominantly technological dimension. Ex Machina develops the majority of its shows in Quebec City, then presents them abundantly in Quebec, Canada and elsewhere in the Americas, Europe, Asia and Oceania.
Beyond their diversity, the company’s projects have some features in common. Anecdotes lead to the exploration of ideas such as the revelation of identity through exposure to the other. Cultural intersections, the nature of the creative act, interrupted communication and states of dependence are recurring themes. Several dramatic situations oppose the quotidian to the extraordinary, the naturalism to the metaphor, and somehow diffident characters to historical figures. The multilingualism, the massive use of images, the reversal of perspective, the variations in scale, the use of narrative codes borrowed from cinema and the use of technological tools aim to spark meaning and emotion, reflecting a desire to poeticize theatrical expression.

Guillaume Côté, Choreographer
Guillaume Côté, a native of Québec, is a renowned Principal Dancer with The National Ballet of Canada. He has performed major classical roles and worked with the world’s most esteemed choreographers. As a guest artist, he has danced with prestigious companies worldwide, including The Royal Ballet, the Bolshoi Ballet, American Ballet Theater, New York City Ballet, Teatro alla Scala in Milan, English National Ballet, the Mikhailosky Theater of St-Petersburg, Teatro Colón de Buenos Aires, Berlin’s Staatsoper, Maggio Musicale Fiorentino, Stuttgart Ballet, Hamburg Ballett, Verona Opera and the South African Ballet Theater. In 2012, he co-founded Anymotion Productions to produce high-quality independent dance works. Côté also serves as a Choreographic Associate with The National Ballet of Canada, with eight of his works in the company’s repertoire. His ballets have received critical acclaim, including Enkeli, which won the Audience Choice Award for Best Choreography in 2012. He collaborated with director Robert Lepage to create Frame by Frame in 2018. In 2021, he founded his own company, Côté Danse, and premiered innovative works such as Burn Baby, Burn; X (Dix); Cyrpto and Touch. Côté has received numerous awards and was named Chevalier de l’Ordre national du Québec in 2021.

Robert Lepage, Director
Robert Lepage is a renowned multidisciplinary artist, celebrated as an actor, director, playwright, and stage director. Known for his original, contemporary works that blend history with cutting-edge technologies, he began his career after enrolling at the Conservatoire dʼart dramatique de Québec in 1975. In 1994, Lepage founded Ex Machina, a multidisciplinary creation company, and later established La Caserne and the venue Le Diamant in Quebec City. His most significant works include The Seven Streams of the River Ota, The Dragonsʼ Trilogy, The Far Side of the Moon, The Image Mill, and his collaborations with Cirque du Soleil, KÀ and TOTEM.
Choreographer’s Note
Welcome to our presentation of The Tragedy of Hamlet, Prince of Denmark.
As we breathe life into Shakespeare’s timeless masterpiece through the language of dance, we invite you to immerse yourself in the profound themes and enduring relevance of Hamlet in our contemporary world. Our journey in crafting this performance has led us to discover the universal struggles of power dynamics, betrayal, and inner conflict that still resonate deeply in today’s society. Just as Hamlet wrestles with the complexities of justice, loyalty, and truth, we too confront similar dilemmas as we navigate the intricacies of our relationships, obligations, and moral decisions in the modern age.
Your presence among us tonight serves as a testament to the enduring impact of art in stimulating thought, eliciting emotions, and igniting dialogues. We hope our interpretation strikes a chord within you, prompting introspection and a newfound appreciation for the richness and complexity of this classic narrative.
I am immensely grateful for the exceptional cast, crew, and collaborators who have poured their hearts and souls into bringing this vision to fruition. Their dedication and talent have truly been the cornerstone of this production.
Thank you once again for embarking on this artistic voyage with us.
With heartfelt gratitude and admiration,
Guillaume Côté
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Director’s Note
In the beginning were the words and the words became flesh.
Hamlet is undoubtedly the longest and deepest play in the Shakespearean repertoire. But when we strip away the words, the skeleton still remains and the meaning doesn’t disappear. We note with astonishment how the work exists beyond the literary.
Dance generates breath, energy, and gestures that can reveal hidden meanings concealed by the lyricism of the text. Dance gives the characters bodies, muscles, flesh.
Our show brings together artists from different dance backgrounds. It is therefore composed of classical, contemporary and even street-dance inspired lines, which replace the language levels usually characteristic of social classes.
Through the body, the work is embodied, literally. It becomes three-dimensional, magnifying passion, violence, sensuality and is able to tell the story of this brilliant reflection on existence and the vagaries of indecision in a remarkable way.
Enjoy the show!
Robert Lepage

Guillaume Côté, a native of Québec, is a renowned Principal Dancer with The National Ballet of Canada. He has performed major classical roles and worked with the world’s most esteemed choreographers. As a guest artist, he has danced with prestigious companies worldwide, including The Royal Ballet, the Bolshoi Ballet, American Ballet Theater, New York City Ballet, Teatro alla Scala in Milan, English National Ballet, the Mikhailosky Theater of St-Petersburg, Teatro Colón de Buenos Aires, Berlin’s Staatsoper, Maggio Musicale Fiorentino, Stuttgart Ballet, Hamburg Ballett, Verona Opera and the South African Ballet Theater. In 2012, he co-founded Anymotion Productions to produce high-quality independent dance works. Côté also serves as a Choreographic Associate with The National Ballet of Canada, with eight of his works in the company’s repertoire. His ballets have received critical acclaim, including Enkeli, which won the Audience Choice Award for Best Choreography in 2012. He collaborated with director Robert Lepage to create Frame by Frame in 2018. In 2021, he founded his own company, Côté Danse, and premiered innovative works such as Burn Baby, Burn; X (Dix); Cyrpto and Touch. Côté has received numerous awards and was named Chevalier de l’Ordre national du Québec in 2021.

An acclaimed artist of pure elegance. Sonia Rodriguez served as a Principal dancer of the National ballet of Canada retiring from the company after a 32 year career. Sonia has performed virtually every leading role in the classical repertoire, numerous George Balanchine ballets and has worked with, performed and created roles in works by contemporary choreographers such as Alexei Ratmansky, James Kudelka, Christopher Wheeldon, John Neumeier, Wayne McGregor, Lar Lubovitch, Glen Tetley, Marie Chouinard, Azure Barton, Robert Binet, Sabrina Matthews, Will Tucket, Jorma Elo, Guillaume Côté, William Forsythe and Crystal Pite. As a guest artist she has appeared in Stars of the 21st century, Dance Salad Festival in Houston and International ballet galas in Spain, Italy, Hungary, Russia, Mexico, Canada and the US. She is the recipient of the Grand Prix winner in Capri, Rolex Dancers First award 2008/2017, 10 Most Influential Hispanic Canadians award. She received the Order of Civil Merit from Spain and was Inducted into Canada’s Walk of Fame 2012.

Upon graduation from Bytom State Ballet School in Poland, Robert Glumbek joined The Great Theatre of Opera and Ballet in Warsaw as a soloist. After immigrating to Canada he worked as a dancer for a number of Canadian companies and later joined Mannheim Ballet, Germany as a dancer and ballet master. He has worked as an independent artist and choreographer since returning to Canada and is currently the Artistic Associate for ProArteDanza and faculty member of Toronto Metropolitan University. Robert has choreographed numerous acclaimed works for companies around the world. He was a finalist in the Hanover and Stuttgart Choreographic Competitions, recipient of the Now Magazine Best Dancer, K.M. Hunter Artist Award and Clifford E. Lee Choreography Award. Glumbek is a four-time Dora Mavor Moore nominee, and co-recipient winner with Robert Campanella. Most recently, Glumbek was nominated and twice presented the Jan Kiepura best choreographer award for his work with the Szczecin Ballet, Poland.

Originally from Red Deer, Alberta, Carleen Zouboules earned her BFA from Toronto Metropolitan University in 2020. Since then, she has become a standout performer in Toronto, dancing for esteemed companies like ProArteDanza, Côté Dansé, Red Sky Performance, and Zata Omm Productions. Zouboules’ resume includes two performances at Fall For Dance North, featuring works by Jera Wolfe and Anne Plamondon. Her repertoire extends to pieces by Lesley Telford, Roberto Campanella, Robert Glumbek, Chantelle Good, Tori Mehaffey, William Yong, and Guillaume Côté. On camera, she has performed for the MTV Video Music Awards, the feature film Sweat, and creative film Eden Planted. Zouboules choreographed for Night Shift, presented by Citadel + Compagnie in collaboration with FFDN in 2022, and recently collaborated and choreographed for the TMU students. Her passion for the stage extends beyond dance to acting; she is excited to contribute to this version of The Tragedy of Hamlet, Prince of Denmark that beautifully combines both art forms.

Lukas Malkowski (he/they) is a CODA (Child of Deaf Adult), iconographic|clastic performance maker and Aquarius based between Germany and Canada. He started dancing at Rosedale Heights School of the Arts, later obtaining his BFA in Dance Performance at Toronto Metropolitan University. Embodying physics, voice, and Sign; he has choreographed full length works, ambient sets, music videos, and films with Naishi Wang, Sam Slater (Joker OST), LBT, and 7th Plain (Luke Slater) at CTM Festival, FestivalTransAmérique, and the Schrittmacher Festival, recently winning audience choice award at the biennial dance: made in Canada festival. Flowmentum: his teaching practice is driven by embodiments of physics through sight and touch. In 2021 Malkowski received the Recherchestipendium Darstellende Kunst. He is also one of the 2022/23 Tanzpraxis Emerging Artist scholarship recipients. He created an ecstatic solo premiere Moan in 2024 and the Sign Language duet Sign Momentum in 2025.

Michel Faigaux, born and raised in Toronto, Canada, is a graduate of the Canada’s National Ballet School. He danced with The Royal Winnipeg Ballet, the National Ballet of Canada and Alberta Ballet. Faigaux has been lucky to travel the world, performing all over Canada and the USA, Japan, China, Egypt, Finland, Singapore and has also performed for two seasons with the Stratford Festival. Faigaux is also known for his energetic ballet classes and is currently a guest teacher at the National Ballet of Canada, and has guest taught in Japan for more than 20 years. Faigaux would like to thank his amazing wife Clodagh, and his two kids, Daisuke and Mika, for supporting this amazing journey to the stage, and also Guillaume Côté, Etienne Lavigne and Robert Lepage for this opportunity.

Natasha Poon Woo is a freelance dancer, rehearsal director, and dance teacher. She began training and performing at Claude Watson School for the Arts and with Canadian Contemporary Dance Theatre in her hometown of Toronto, Ontario. She is a summa cum laude graduate of SUNY Purchase’s Conservatory of Dance, where she performed works by Pam Tanowitz, Twyla Tharp, Doug Varone and Kevin Wynn. Natasha has since danced for Compagnie de la Citadelle, The Dietrich Group, Roderick George, Carol Anderson, The Platform, Hit & Run Dance Productions, and Conny Janssen Danst, among others, and is an ongoing collaborator and Dora Award-winning performer with Rock Bottom Movement.
A proud artist of Côté Danse since 2021, Poon Woo has also had the privilege of performing in the company’s productions of Touch, Crypto, and X (Dix), with notable presentations at Le Festival des Arts de Saint-Sauveur and New York City Center’s 2023 Fall for Dance Festival.

Connor Mitton is a graduate of Toronto Metropolitan University’s Performance Dance Program and a 2018 and 2019 Dora Mavor Moore Award Nominee. Originally from Ottawa, Mitton has toured and performed with several renowned dance companies performing works by: Citadel + Compagnie, James Kudelka, Guillame Cote, Robert Lepage, Jerra Wolf, Red Sky Performance, Thomas Fonua, William Yong, Hanna Kiel, Kate Hilliard, Heidi Strauss, Robert Glumbek, Roberto Campanella, Release Dance Project, ACE Dance Theatre, Zata Omm Dance Projects, Avinoam Silverman and Allan Kaeja. In his first year performing professionally, Mitton was recognized by Now Magazine as one of 2017’s breakthrough
Toronto stage artists.

Willem Sadler is a street styles and contemporary based artist from Toronto, Ontario. Sadler has had the opportunity to perform and show his work internationally, most recently in New York City. Sadler defines himself as a versatile dancer/creator and strives to squash the separation of ‘styles’ and present dance as movement without restrictions. Throughout his career Sadler has performed and collaborated with the Toronto Symphony Orchestra, Mirvish, Dusk Dances, CCDT, Dance Collection Danse, Zata OMM, ProArteDanza and Côté Danse. He has also performed works by Jennifer Archibalt, Guillaume Côté, Colin Connor, William Yong and Robert Lepage. Sadler has most notably performed in Cote Danse’s X(Dix) as part of the 20th Fall For Dance Festival at the New York City Center. Sadler wishes to contribute towards enriching the Toronto dance community.
Guest Speaker:

Menno Plukker was born in 1958 in Amsterdam, The Netherlands. He studied English language and literature as well as political science at the University of Amsterdam and he obtained a degree in Accountancy in Amsterdam in 1984.
Since 1981, he has been involved in theatre and dance management. From 1981-1985 he directed a foundation for multi-ethnic theatre in The Netherlands (S.T.I.P.T.) and programmed a multi-cultural theatre festival (Stagedoor) in Amsterdam in 1983-1984. He was Administrative Director of Theater De Balie in Amsterdam from 1986-1988, and founded his own theatre booking agency in 1987, providing financial, production and promotion services to a wide array of theatre and dance companies in the Netherlands through 1990. In 1989, he started to represent and produce artists and companies from Québec and Canada in Europe.
In 1990 he moved to Montréal and he has dedicated himself mostly to worldwide representation of Canadian theatre and dance artists since.
Host for the 18th:

Christopher Gaze is the Founder and Artistic Director of Bard on the Beach Shakespeare Festival, which celebrates its 37th Season in 2026. He also plays a leading role in BC as an advocate for the arts in general, and his passionate dedication to Bard on the Beach has fuelled its growth into one of the largest professional theatre companies in Canada. His many honours include Canada’s Meritorious Service Medal, Honorary Doctorates from UBC and SFU, the Mayor’s Arts Award for Theatre, the Order of British Columbia, and most recently, the King Charles III Coronation Medal.
Host for the 19th:

France Perras is a bilingual actress (stage, screen, voice-overs, moderating, live announcing) who has been working in Vancouver and across Canada, for the past many years…
She often works with Théâtre la Seizième, the only professional French theatre company in BC. (www.seizieme.ca) She has had the immense pleasure of moderating at The Vancouver Writers Fest for many years in the YA realm, and has Hosted and MC’d throughout the years, whether at the Shipyards 5th Year Anniversary Bash, or The Canadian Association of Broadcasters Conferences or LIVE bilingual announcing at The Invictus Games Opening and Closing Ceremonies. https://www.franceperras.com/
Host for the 20th and 21st:

With a background as a professional actor and director, Mary Hartman has given countless people the opportunity to play Shakespeare for more than 30 years. As Director of Education at Bard on the Beach, she is responsible for design and development of programs for students, teachers, theatre professionals, and the public, all with the mission of Bard Education in mind: to inspire community through dynamic, engaging experiences with Shakespeare. She holds a master’s degree from King’s College, London, and a bachelor’s degree from Dartmouth College, and has received numerous awards and honours
CREATIVE TEAM
Designed and Directed by Robert Lapage
Co-designed and Choreographed by Guillaume Côté
Creative Director…………………………………………………………………………………………Steve Blanchet
Assistant Director ……………………………………………………………………………………… Félix Dagenais
Creative Assistant and Rehearsal Director…………………………………………………………Anisa Tejpar
Composer …………………………………………………………………………………………………..John Gzowski
Associate Set and Props Designer …………………………………………………………….. Vanessa Cadrin
Lighting Designer……………………………………………………………………………………….Simon Rossiter
Costume Designers ……………………………………………….Michael Gianfrancesco, Monika Onoszko
Artistic Collaborator…………………………………………………………………………………. Olivier Normand
Fight Consultant………………………………………………………………………………………… Jack Davidson
PERFORMERS
Hamlet …………………………………………………………………………………………………….Guillaume Côté
Gertrude………………………………………………………………………………………………….Sonia Rodriguez
Claudius …………………………………………………………………………………………………Robert Glumbek
Ophelia………………………………………………………………………………………………. Carleen Zouboules
Laertes ………………………………………………………………………………………………….Lukas Malkowski
Polonius…………………………………………………………………………………………………….Michel Faigaux
Horatio ……………………………………………………………………………………………….Natasha Poon Woo
Rosencrantz………………………………………………………………………………………………. Connor Mitton
Guildenstern………………………………………………………………………………………………. Willem Sadler
TECHNICAL TEAM
Production Manager ……………………………………………………………………………….Nadia Bellefeuille
Rehearsal and Tour Manager…………………………………………………………………………..Anisa Tejpar
Technical Director ……………………………………………………………………………………….Antoine Caron
Stage Manager…………………………………………………………………………………………. Félix Dagenais
Lighting Manager ………………………………………………………………………………………Simon Rossiter
Sound Manager…………………………………………………………………………………………….Stanislas Elie
Head Stagehand ………………………………………………………………………………….Anne Marie Bureau
Costumes and Props Manager …………………………………………………………………. Jeanne Lapierre
Head Stagehand – Creation ………………………………………………………………………..Sébastien Côté
Costume Manager – Creation ……………………………………………………………………….. Émilie Potvin
Assistant Costume Designer ………………………………………………………………………….Allie Marshall
Sound Project Manager and R&D …………………………………………………………………..Stanislas Elie
Video Project Manager and R&D……………………………………………………………..Samuel Sérandour
Recording Studio …………………………………………………………………………………..Canterbury Sound
Producer/Engineer………………………………………………………………………………David Travers-Smith
Cello …………………………………………………………………………………………………Amahl Arulanandam
Bass………………………………………………………………………………………………………….Jesse Dietschi
Percussion ………………………………………………………………………………………………….Mark Duggan
Hurdy Gurdy/Percussion……………………………………………………………………………..Ben Grossman
Electric Guitar………………………………………………………………………………………………John Gzowski
Violin ………………………………………………………………………………………………………….Drew Jurecka
Viloa………………………………………………………………………………………………………Shannon Knights
Voice…………………………………………………………………………………………………Patricia O’Callaghan
Bass………………………………………………………………………………………………………………Joe Phillips
Saxophone/Clarinet………………………………………………………………………………………….Ernie Tollar
Violin ………………………………………………………………………………………………….Rebekah Wolkstein
Set Builders…………………………………………………………………………………Astuce Décors, ShowTex
Set Builders – Conception………………………………………………………………………………..Alain Gagné
Set Builders – Ex Machina………………………………………………………Bruno Petit, Catherine Ouellet
Masks……………………………………………………………………………………………………….Danielle Boutin
Robert Lepage’s Agent……………………………………………………………………………….Lynda Beaulieu
Set & Props Building Collaborators:
Geneviève Bournival, Marie-Pascale Chevarie, Béatrice Lecomte-Rousseau, Suzanne Pouliot-Cadrin, Myriam Richer, Charlyne Roux
Costume builders:
Felsen Tailors, Lela Stairs, Sue Furlong, Marlee Bygate, Deanna Brown
Producer – Ex Machina…………………………………………………………………………..Michel Bernatchez
Associate Producer – Ex Machina…………………………………………………………………Hélène Paradis
Producer – Côté Danse………………………………………………………………………………Etienne Lavigne
Founding Executive Producer – Côté Danse…………………………………………..Emmanuelle Gattuso
Producer – Dvoretsky Productions…………………………………………………………..Svetlana Dvoretsky
Associate Production – Europe, Japan……………………………………….. Epidemic (Richard Castelli)
Associate Production – The Americas, Asia (except Japan), Australia, New Zealand:
Menno Plukker Theatre Agent
Produced by Ex Machina/Côté Danse/Dvoretsky Productions In co-production with «Marin Sorescu» National Theatre and Shakespeare Foundation, Craiova, Festival des Arts de Saint-Sauveur, Ville d’Alma Spectacles, Danse Danse, Montréal, Straz Center, Tampa, Le Diamant, Québec, Cape Fear Community College, Wilmington, Wolf Trap Foundation for the Performing Arts, Vienna, Western Carolina University, Cullowhee, Indiana University Auditorium, Bloomington, Lied Center for Performing Arts, Lincoln, Baku International Arts Festival, Maison des arts de Créteil, Staller Center, Suny Stony Brook, National Arts Center, Ottawa
Developed in collaboration with the National Creation Fund at Canada’s National Arts Centre.
This production was developed with the support of TO Live.
English:
Hamlet is the Prince of Denmark. After his father’s unexpected death, he attends the wedding of his mother and uncle. His uncle, Claudius, has declared himself King with Hamlet’s mother Gertrude as his Queen. Hamlet, the rightful heir, does not trust his uncle. When his friend Horatio takes him to his father’s tomb, the ghost of Hamlet’s departed father tells him that he was actually murdered by Claudius, who put poisoned drops in his ears while he was sleeping. The ghost tells Hamlet he must avenge his father’s murder.
Back in the castle, Hamlet fakes madness to observe interactions and reveal the truth, but he becomes confused and erratic. With the intention of testing his uncle’s guilt, he presents the murder in a play for the court. He believes that if the ghost is right, Claudius will reveal his guilt by his reactions, which he does, for when the moment of the murder arrives in the theatre, Claudius leaps up and leaves the room. Convinced that Claudius committed the murder, Hamlet vows to kill him, but his philosophical nature makes him reluctant and he delays. This results in a series of deaths. First is Polonius whom Hamlet stabs to death, thinking he is in fact Claudius hiding and spying on him. Claudius then sends Hamlet to England as punishment, with his friends Rosencrantz and Guildenstern ordered to spy on him, but Hamlet is suspicious and fearful of them and has them murdered. While Hamlet is away, his love Ophelia discovers that Hamlet killed her father Polonius, and going mad with grief and Hamlet’s rejection, she drowns herself. When Hamlet returns home, Claudius convinces Laertes, Ophelia’s brother, that Hamlet was responsible for the deaths of his father and sister and orchestrates a duel between them where Hamlet will be killed either by a poisoned blade or by poison in his winning drink.
At the match, Hamlet defeats Laertes and Gertrude celebrates her son’s victory and drinks the poisoned wine unknowingly. As she drinks the wine, Laertes realizes that their plan may get revealed and thus immediately wounds Hamlet with the poisoned blade. Hamlet takes Laertes blade and in turn, strikes him. While dying Laertes tells Hamlet about Claudius’s plan.
Hamlet lunges at Claudius and kills him. Only Horatio survives.
Français:
Hamlet est le prince du Danemark. À la suite de la mort de son père dans des circonstances troubles, son oncle, Claudius, épouse sa mère, Gertrude. Claudius se proclame dès lors roi du Danemark.
Hamlet, l’héritier légitime, reste sur ses gardes, d’autant plus que son ami Horatio l’amène au cimetière, où il rencontre le fantôme de son père. Il apprend alors que Claudius aurait assassiné le souverain dans son sommeil. Le spectre enjoint Hamlet de le venger.
De retour au château, Hamlet simule la folie pour pouvoir espionner son entourage sans susciter la méfiance, puis organise une présentation à la cour de l’assassinat de son père sous la forme d’une pièce de théâtre afin de vérifier la culpabilité de son oncle. La réaction de celui-ci est instantanée et sans équivoque: lorsque le crime est perpétré sur scène, Claudius se lève et quitte immédiatement. Hamlet jure vengeance.
Plusieurs morts joncheront le chemin de sa revanche. Polonius, le père d’Ophélia la promise d’Hamlet, est la première victime; il est poignardé par erreur alors qu’il se trouve dans la chambre de la reine. Pour purger sa peine, Hamlet s’exile aux côtés de Rosencrantz et de Guildenstern, ses deux amis, qui s’avèrent jouer un double jeu au profit de Claudius. Méfiant, Hamlet les élimine. Pendant son absence, Ophélia se donne la mort dans les flots quand elle apprend que son père a été assassiné par Hamlet, son amant. Son frère Laertes souhaite la venger, de même que son père.
Laertes provoque Hamlet en duel. Pour s’assurer qu’il ne pourra y échapper, du poison est versé dans sa coupe et la lame de l’épée de Laërte en est aussi enduite. Finalement, ce sera Gertrude qui portera la coupe mortelle à ses lèvres. Les deux opposants périssent enfin, blessés par la lame empoisonnée. Avant son dernier souffle, Hamlet parvient à tuer son oncle, faisant de son meilleur ami, Horatio, le seul survivant de la tragédie.
Dates & Times
March 18, 2026 | 8:00 PM
March 19, 2026 | 8:00 PM
March 20, 2026 | 8:00 PM
March 21, 2026 | 8:00 PM









