"The raven has landed at the Minack, in the Mad Dogs and Englishmen company's Hamlet, where it not only croaks for revenge but also cries this is 'a hit, a very palpable hit'. Directed by Ann Courtney, who also gives us a good, motherly if misguided, Gertrude, this is a clean, clear-cut version of Shakespeare's tragic tale of 'royal knavery' which may be concise - there are cuts , Fortinbras, for example, gets the order of the boot and with it his command to 'bid the soldiers shoot' - but which scores on several levels.

First, there is the programme which is unusual in being worth reading. Second, there are the high production values. From the first reassuring appearance of the sword-bearing, shield-carrying soldiers, to the black and white costumes, from the oriental 'Mousetrap' to Stephen Kingsbury's original music, this is an armour-plated production which looks and feels as solid and satisfying as it sounds.
Third, there is Paul Lockyer's all but hairless 'sweet prince'. A Hamlet and a half, quick on the draw, surely the fastest sword or dagger in Denmark, as the Great Dane of Elsinore, a dangerous thinker, whose bite is even worse than his bark, guaranteed to give rabies to all and sundry in saliva range, his performance is unlikely to be bettered here this season.

Although he makes it Hamlet's evening, this is far from being a one-man band and there are several other fine soloists in a play scored for them: notably, Claire Worland's Ophelia. A 'green girl' who may be off the wall but one with whom any full-blooded male would be more than happy to tread the 'primrose path of dalliance', she is so sexy in her sorrow one realises what a waste she would be in a nunnery.

Not to be missed, it's two and a half hours of madness and murder so mesmerising I've not only been there, seen it but - and I kid you not - also bought the Tee-shirt."

The Cornishmen 2001

Shakespeare's most famous tragedy was performed using only six black set boxes and a black 'throne', but the scant stage was enough to evoke the true atmosphere of Hamlet when coupled with a threatening score, excellent costumes and brilliant acting. Paul Lockyer was in his element as Hamlet, able to project even the softest of soliloquies above the wind, participate in energetic sword-play with Laertes (the brilliant Stephan Drury), and brood like a Trojan when required. His violent and sometimes very passionate interactions with Ophelia (Claire Worland) in acts three and four were mesmerising, and his tragic demise intensely moving, while his gradual descent into madness was hypnotic and, at times, very disturbing. Claire Worland delivered an excellent performance as the doomed Ophelia, and her sudden derangement after the death of Polonius was a revealing glimpse into the realms of maddening grief, with tormented ravings and other disquieting behaviour. Mark David Nash and director Ann Courtney gave suitably unsettling performances as the ever fornicating Claudius and Gertrude, while there were many hilarious scenarios turned in by Rosencrantz, Guildenstern and the Gravedigger, played by Philip Steward, T J Holmes and Henry Layte respectively. Gaston Elliot-Bates delivered a beautifully sensitive performance (particularly in the final scene) as Hamlet's best friend, Horatio, Christopher Robert was a very commanding Polonius, and Stephan Drury gave a touching portrayal of brotherly love as Laertes.

Given the sheer enormity of this work, almost every line was word perfect. Overall, what with an appropriate wardrobe, evocative score, and perfect choreography, acting and directing, this was a virtually faultless production of Shakespeare's greatest play - I barely realised I had sat down."

Essex County Standard 2001