"A brilliant interpretive essay on the famous play, funny, insightful, and really rather exciting, " says Get Your Coats On, in another five-star review. "Tim Marriott and Nicholas Collett deliver each crackling line of dialogue with aplomb."
"Full of energy, exuberance, talent and sharp, witty repartee," says Amy Amberlez of The Reviews Hub
"Brilliantly written by David Visick, funny, moving and intelligent... allows our actors to prove how good they are," says the Dark Chat team of our Edinburgh run.
Elise Gallagher of Upstaged Manchester gives us five stars. "David Visick’s script is undoubtedly the star of the show... however a good script can only truly shine with an equal performance. Marriott and Collett rise to the challenge with ease."
Reviewing our Edinburgh show, Broadsides says "You will never again see Hamlet in quite the way you did!"
"Like Tom Stoppard’s Rosencrantz and Guildenstern Are Dead and Samuel Beckett's Waiting for Godot, Waiting for Hamlet is about speed of execution, timing, bouncing off each other. These two veterans have all of that."
"The King and the Fool are destined to join Rosencrantz and Guildenstern, and Vladimir and Estragon, as a memorable pairing of theatrical characters"
- Broadway World
British Theatre Guide's David Cunningham finds traces of King Lear, Richard II, Tom Stoppard , Monty Python and Boris Johnson among the "heavyweight themes and light tone"
"Marriott and Collett shine and captivate you as these iconic characters," says Donald Stewart at Fringe Online
LouReviews praises the audio version's "textual motifs from Hamlet, Waiting for Godot and the Carry On Series"
Paola Teresa Grassi at Shakespearean Tales loves "this tale of a 'meta-hierarchical' friendship between opposite hats bearers"
Strat Mastoris at Fringe Review praises "universal themes like the nature of power and privilege, of hierarchy and of how states are governed, not to mention existence itself"
The best reviews you can get are from the people who paid to come! We love our audiences!
Leighton Eves talks to Waiting for Hamlet's writer David Visick about ghosts, actors and dancing words
PETE GALLAGHER, Director of the House of Gulliver and judge of the 2018 Kenneth Branagh New Drama Writing Award at the Windsor Fringe
"This intrigued me greatly as it is clearly borne of a love for the source material and perhaps an equal love of Stoppard-esque wordsmiths! A cleverly constructed and witty take on quite a well-worn premise – that of the purgatory waiting room – it serves not only to highlight the foolishness of privilege by using the ultimate status pair of the King and the Fool, but also cocks a small side-sneer at the self-importance of actors by highlighting the disappearance of reputation as is so often seen with a decline in popularity in this media-driven age. The quest for immortality is still alive…and just as pointless as ever…unless what you are leaving behind is truly positive and beneficial to mankind.
The cruel exposing of the frailty of the once mighty King alongside the undoubted wisdom of the ever-ridiculed Fool only serves to reinforce what we secretly know; that we can learn so much from the mouths of the innocent as they have no space for neuroses and psychobabble. Having said that, as the Fool’s argument becomes more logical and its structure takes shape as the play progresses, we realise that anything that is built on a basis of wisdom is probably worth exploring, and ultimately knowing when to let go is a valuable virtue. Knowing you are on solid ground in an argument is often enough for the wise and trying to move the unmovable can be a thankless task."