Shakespeare’s Hamlet Staged Virtually Within Grand Theft Auto

The enduring relevance of Shakespeare’s Hamlet, after four centuries, was explored by two actors, Sam Crane and Mark Oosterveen, who discovered an unconventional solution within the video game Grand Theft Auto (GTA). With their professional activities curtailed by the Covid pandemic, the UK-based duo opted to engage with online gaming. They conceived and executed a virtual rendition of Hamlet within GTA’s online environment. This marked an unprecedented moment in the play’s 400-year history, as the performers required safeguarding by a fighter jet, notably one operated by a glowing green alien. Grand Theft Auto, situated in the Los Angeles-inspired metropolis of Los Santos within the fictional state of San Andreas, enables participants to design and manage their unique characters, referred to as avatars. Users possess the capability to customize their residences, attire, and vehicles, alongside engaging in virtual recreational activities such as sports, wagering, and nightlife. The concept of staging Shakespeare in Los Santos originated when Crane and Oosterveen’s avatars encountered an unoccupied amphitheater, named Vinewood Bowl, within the game. This discovery prompted the question of whether theatrical performances could be revitalized in this digital venue while physical theaters across the UK remained closed. Similar to a conventional theatrical production, this endeavor commenced with auditions. Crane’s in-game persona addressed a gathering of prospective avatars, declaring, “This is William Shakespeare’s Hamlet,” and adding, “I believe it’s the first time it’s ever been performed at the Vinewood Bowl.” He then implored, “If I could just request that you refrain from killing each other,” and further requested, “And don’t kill the actors either.” However, as anticipated, violent chaos followed. Grand Theft Auto is widely recognized for its violent elements, and this inherent bloodshed complemented the narrative of the original play, where (spoiler) nearly all characters perish. As one of Shakespeare’s renowned tragedies, the narrative centers on Prince Hamlet, who is prompted by the apparition of his deceased father to seek retribution for his death by assassinating his uncle, who has unlawfully seized the throne. The endeavor by the actors to introduce theater into the gaming sphere prompted Crane’s wife, filmmaker Pinny Grylls, to produce a documentary titled Grand Theft Hamlet. This film, captured entirely within the game, portrays Grylls, Crane, and Oosterveen as their digital avatars, operated and voiced by their actual selves, as they undertake the casting and production of the play within GTA. Grylls informed BBC News, “We realised that the most important thing in moments of stress [is to] dig deep and try and find creative solutions to existential crises.” The three individuals were not unique in their recourse to virtual environments as a method of coping. Figures from the research firm Nielsen reveal that 82% of consumers worldwide interacted with gaming content during the pandemic lockdowns, marking an unprecedented peak for the medium. The documentary effectively conveys this yearning for evasion, frequently employing a blend of humor and poignancy. Grylls remarks, “I’m so sick of Hackney,” while navigating the sun-drenched streets of Los Santos towards Crane’s virtual residence, adding, “This is like we’ve just started dating again and you’re taking me to your place.” Given that several years have elapsed since the pandemic lockdowns, the film offers a chance for contemplation. Crane states, “A lot of people have found solace and emotional catharsis in this film.” Grand Theft Hamlet is not the inaugural film to utilize the in-game visual aesthetic, known as machinima. However, its distinctiveness arises from the juxtaposition between the virtual realm it depicts and the somber real-world circumstances of its creation. Crane comments, “There’s a positivity to our film, despite, yes, dwelling in the kind of trauma of what we were going through,” and concludes, “There’s still something… creative.” Grylls expressed particular admiration for the profound “sense of community” that developed among the diverse array of players who responded to their virtual casting invitation. Among these participants was DJ Phil89, a literary agent with an affinity for Hamlet, who utilized her nephew’s account for the audition, presenting herself as his shirtless male avatar adorned with a top hat and aviator sunglasses. ParTeb, of half-Finnish, half-Tunisian heritage, manifested as a glowing green alien. Despite apprehension regarding his English proficiency, he delivered a moving audition, spontaneously reciting an Islamic prayer in Arabic, which served as an affecting evocation of the ongoing pandemic. Eventually, ParTeb assumed the role of the cast’s primary protector, shielding them from assaults during performances, notably once maneuvering a fighter jet to avert disaster, in a manner reminiscent of (intergalactic) Top Gun. Grylls remarked, “It made me realise that the people who game are not just one kind of person.” Crane expresses optimism that their film will illustrate the capacity of gaming environments to cultivate authentic real-world connections. He also references this year’s World of Warcraft documentary, The Remarkable Life of Ibelin, which investigates how Mats Steen, a young gamer afflicted with the life-shortening degenerative disorder Duchenne muscular dystrophy, cultivated a rich, concealed existence online. Crane commented, “It’s finally coming into public consciousness,” adding, “These relationships with people inside the game, they can be very real.” Notwithstanding instances of levity and humor, Grand Theft Hamlet does not entirely diverge from the harsh realities of lockdown. When Grylls, communicating within the game, inquires about Crane’s well-being, his immediate response is: “Not really… I have nothing now.” Furthermore, the difficulties were exacerbated by the dire condition of the arts sector, with Crane alluding to the then-government’s widely criticized advertisement that urged artists to “reskill” in cyber-security. The trio’s private conversations frequently reveal struggles with mental health. Oosterveen contends with the solitude of being a single man, referencing the passing of his sole remaining family member. As the documentary unfolds, Grylls openly confronts Crane, alleging that his increasing preoccupation with the game leads to the neglect of his familial responsibilities. In an effort to find some tranquility amidst the turmoil of Los Santos, Crane acquired a virtual office for conducting planning meetings, paying to have its foyer sign rechristened Elsinore, a direct reference to the Danish castle featured in Hamlet. However, the collective soon began to scrutinize the intrinsic worth of art and the nature of their creative pursuit, particularly after Dipo, the player initially selected for the role of Hamlet, withdrew from rehearsals to commence a new “real-world” employment. This confrontation with reality prompted Crane to react sharply, characterizing their undertaking as “not a real thing,” which in turn caused Oosterveen’s pent-up frustrations to erupt. He stated, “You’ve got a wife, you’ve got kids,” adding, “I don’t have any of those things.” Critical assessments of Grand Theft Hamlet have commended its inventive emotional profundity. IGN remarked, “This is an irreplaceable experience that speaks volumes about following your dreams despite the challenges that await.” Variety commented that the film transported Shakespeare to a “whole new dimension.” Crane also suggests that conventional stage productions could benefit from lessons derived from gaming, which he considers a more approachable medium. He explained, “With theatre, you need to be in a place with a rich culture for it,” but asserted, “But with gaming, anyone can pick up a console, play, and express their creativity.” A young cast member named Nora has found this opportunity advantageous. She openly conveyed her appreciation to those involved in the game for enabling her to perform and articulate herself without inhibition, especially as an individual undergoing a gender transition. Grylls stated, “It’s amazing that her first production experience of Shakespeare, beyond studying in school, was in Grand Theft Auto,” and concluded, “That’s what kept us going really, the fact people kept coming back because they wanted to.” The dedicated and unconventional efforts of Grylls, Crane, and Oosterveen have yielded significant success. Their documentary has garnered festival accolades, been showcased at the BFI London Film Festival, secured a theatrical distribution, and is slated for streaming on Mubi next year. The film’s achievements persisted at the British Independent Film Awards on Sunday, where Crane and Grylls collectively received the award for best debut director in the feature documentary category. Additionally, the film was honored with the Raindance Maverick award, which recognizes audacious and imaginative filmmakers. Regarding future developments, the government disclosed last month that the Royal Shakespeare Company intends to investigate the integration of artificial intelligence and immersive technologies into its forthcoming productions. Without revealing the conclusion of Hamlet’s final performance within GTA, it can be noted that a particular scene unfolds atop a blimp. This serves as a striking metaphor for ambition,