The legendary Danish prince returns to the stage in Madrid, but this time as we've never seen him before: transformed into a kind of tragic comic figure who stands before the audience to tell his story with raw honesty. Hamlet at the Teatro Español arrives in monologue format, with a single voice on stage and many questions swirling in the auditorium: What does this play truly mean? Why does it continue to move us centuries later? How can one play with a classic without betraying it?
This production, titled Hamlet.01 , is a creation of playwright and director Sergi Belbel, which takes the first act of William Shakespeare's tragedy and turns it inside out. Through a blend of humor, philosophical reflection, and theatrical flair, the show invites 21st-century audiences to confront Hamlet head-on, without solemnity or constraints, but with a deep respect for the literary and theatrical power of the original.
What is Hamlet.01 and why is it different
Hamlet.01 is a theatrical production that reinterprets the first act of Hamlet from a contemporary perspective, using the techniques of stand-up comedy , although in this case the team prefers to call it "stand-up tragedy." In other words, it's not a classic production with a cast, traditional sets, and scene changes, but rather a single performer who addresses the audience directly, comments on what's happening, and delves, with subtle irony, into each line of Shakespeare's text.
The play is written and directed by Sergi Belbel , one of the most renowned playwrights on the recent Spanish stage, based on the first act of William Shakespeare's original text. The author does not intend to summarize the entire tragedy, but rather to focus on this initial part of the story, which serves as the catalyst for everything that follows, and to use it as a laboratory in which to dissect motifs, characters, language, and subtext.
On stage we find only Enric Cambray , who takes on the task of embodying Hamlet himself and, at the same time, giving voice to all the characters in the first act. With shifts in register, rhythm, and gaze, the actor jumps from one role to another, narrating what happens, commenting on it, discussing it, and laughing at his own obsession with the Prince of Denmark, all while maintaining a close connection with the audience.
The result is a mischievous, intelligent, and accessible monologue that transforms the traditional perception of the classic. The performance lies somewhere between a lively lecture, a live dramaturgical analysis, and a stand-up comedy show where the tragedy doesn't disappear, but rather is reinterpreted through humor and bewilderment.
Stand-up tragedy: Hamlet face to face with the audience
In this version, Hamlet behaves like a stand-up comedian who, instead of cracking jokes about everyday life, unfolds the opening of Shakespeare's tragedy before the audience. He is alone on stage, facing the audience, with no support other than his own voice, his body, and the text of the first act, which he comments on and twists with malice, wit, and curiosity.
This format allows the character to speak directly to the audience, immediately breaking the fourth wall and playing with that sense of complicity. The prince is no longer a distant, solemn, and tragic figure in a Nordic castle, but someone who opens up in real time to the Madrid audience, in the 21st century, and shares his doubts, his contradictions, and his pent-up anger.
The key is that, despite the humor, the show doesn't sacrifice the depth of the original. Humor is used as a tool to delve into the philosophy, the psychology of the character, and the literary dimension of the text. Hamlet's big questions—about death, betrayal, power, and identity—remain, but are presented in a more approachable, less intimidating tone, allowing anyone, even those who have never read the play, to follow the story without getting lost.
This "tragedy in stand-up" approach also allows the character's famous monologues to be viewed from a different perspective. Instead of being seen as moments where the action stalls, they become living material for analysis, play, and audience engagement. Hamlet's most profound speeches become a field for comedic experimentation, but without sacrificing the dramatic depth that makes them unforgettable.
Director's note: incomprehension, admiration, and envy
Sergi Belbel himself explains, in a director's note accompanying the project, where this idea originated. He confesses that every time he attends a performance of Hamlet , he feels a mixture of fascination and bewilderment. The protagonist's interminable monologues , which seem to halt the action so he can think the same thing over and over again, are as hypnotic as they are difficult to fully grasp.
Belbel admits that he gets lost in these digressions, that he doesn't always understand exactly what the character is trying to achieve by going on at such length: whether he's trying to postpone the inevitable, organize what has happened, or anticipate what's to come. However, despite this feeling of not fully understanding him, when the moment of the duel with Laertes arrives, his heart aches and his emotions overwhelm him, even though he already knows perfectly well how the story ends.
This combination of intellectual bewilderment and emotional impact leads him to a clear conclusion: he is faced with a work of immense linguistic, literary, artistic, and philosophical richness, capable of captivating both experts and a broad audience. From this arises a mixture of admiration, envy, and anger that the director himself does not hide. He feels tiny before a text of such magnitude, like an ant looking at an elephant, and asserts that he has never dared to stage the complete work because he considers it, in some way, unmanageable.
In that same note, Belbel also acknowledges his devotion to great actors, and in particular to Enric Cambray. Years ago, the actor confessed to him that no director would ever offer him the role of Hamlet, and Belbel replied that he wouldn't give it to him either, because he had promised himself that he would never stage the play. That promise, however, was a catch : he had made it as a director, not as an author.
From this game of impossibilities arises the creative spark: if he doesn't dare to direct the entire text, what would happen if he approached it from the writing stage, with the filter of comedy, accepting from the outset that it is an undertaking destined to fail if it seeks to encompass everything, but very fertile if it is conceived as a lucid and outspoken experiment?
Dissecting the first act: a mischievous and respectful monologue
Based on this reflection, Belbel sets out to dissect, in the form of a monologue, all the lines in the first act of Hamlet . His idea is to take each phrase, each intervention , and subject it to a kind of comic X-ray, examining its nuances, contradictions, and secrets, with the avowed objective of trying to better understand the play, even knowing that total comprehension is impossible.
The approach is not one of crude parody or ridicule of the classic, but rather an irreverent homage. The original text is treated with respect, but also with the freedom that humor provides, understanding that comedy can be a powerful tool for clarifying ideas, demystifying cultural icons, and bringing them closer to new generations of viewers.
Belbel chooses to begin with this first act because it serves as a gateway to the Danish prince's world: the characters are introduced, family conflicts are hinted at, the father's shadow appears, and the doubt that will haunt the protagonist is planted. Focusing on this initial section allows for a thorough exploration of the details without being forced to cover the entire plot up to the final downfall.
In this way, Hamlet becomes a “presenter” who guides the audience through the events of the first act, pausing where issues arise that still resonate with us today. The monologue draws on the author's own bewilderment at the text, his avowed envy of Shakespeare, and his creative rage, channeled into theatrical performance rather than academic essay.
The process ends up crystallizing in a theatrical “Et voilà”: Hamlet.01 is presented as the first chapter of a possible series of approaches to the work, an experiment that does not rule out future explorations of other acts, but which for now focuses entirely on this first installment, turned into an autonomous and closed show.
A little context: Sergi Belbel and Enric Cambray
The project rests on the collaboration between two prominent figures in the current theater scene. On the one hand, Sergi Belbel , known for titles such as If I Hadn't Met You or Like a Dog in a Field , among many others, has spent decades exploring new ways of telling stories in theater, always attentive to language and the stage possibilities of the text.
On the other hand, there's Enric Cambray , an actor who can no longer be considered as young as when he confessed he'd never get the role of Hamlet, but who maintains the same energy and stage curiosity. In this production, Cambray takes on the challenge of performing solo for approximately 120 minutes, transforming himself at every moment and facing the audience without a safety net, as the stand-up tragedy format demands.
The creative connection between the two is not limited to the work itself: it is also reflected in the production, overseen by Sergi Belbel and Enric Cambray , in collaboration with the company Primera Rèplica. This partnership allows the show to thrive both at the Teatro Español and on tour, maintaining the same essence of intimacy and playful interaction with the audience wherever it is performed.
The production also boasts an artistic team that supports the project from various angles. The photography is by David Ruano , whose images contribute to building the show's visual identity. Roser Soler is the head of production and distribution, a key figure in coordinating the logistics and promotion of the project. The credits also include acknowledgments to collaborators and venues such as Kiko Planas, Roc Esquius, Jordi Bonet, Teatre Auditori Cardedeu, Sala Beckett, Dau al Sec, and the Cardedeu Inspirant Cultura program, which supported the creation.
Dates, times and venue at the Teatro Español
Hamlet.01 is being presented at the Teatro Español in Madrid , specifically in the Sala Pequeña – Margarita Xirgu, an ideal space for intimate and personal productions like this one. The physical proximity between the stage and the auditorium fosters the kind of direct relationship that the format demands, in which the character addresses the spectators almost as if it were a face-to-face conversation.
The play is part of the 2025-26 season program at the Teatro Real in Madrid, within the realm of contemporary performing arts that engage with the classics. Performances are scheduled from May 22 to June 21, 2026 , although some promotional materials place the start of performances on May 21, always in the afternoon.
The show usually starts at 19:30 p.m. , allowing audience members to enjoy a complete two-hour theatrical experience without it getting too late. During those approximately 120 minutes, the audience accompanies Hamlet on his journey through the first act, experiencing laughter, reflection, and the occasional lump in their throat.
The program includes performances from Wednesday to Sunday , with different dates distributed throughout the planned period: Sundays, Wednesdays, Thursdays, Fridays and Saturdays, until the calendar is completed, which runs until June 21, 2026. Tickets and all detailed information on availability and prices can be viewed and purchased directly on the official website of the Teatro Español.
The production is officially presented as a collaboration between Primera Rèplica and the Teatro Español , integrating into the city's cultural offering with the clear objective of bringing Shakespeare's universe closer to diverse audiences, from fans of classical theatre to young spectators who may be encountering the figure of Hamlet for the first time.
Accessibility and special function
One of the highlights of this project at the Teatro Español is its commitment to accessibility. An accessible performance is scheduled for Friday, June 12, in which various resources designed for people with sensory disabilities will be available to the audience.
This special performance will offer audio description so that people with visual impairments can follow what is happening on stage through a sound narration that complements the play. Surtitles for the deaf and hard of hearing will also be included , so that those who need them can read the dialogue and the actor's comments in real time.
The Teatro Español recommends that spectators using surtitles avoid sitting in the front rows, as this will obstruct the view of the projected text. It is advisable to purchase tickets from row 5 onwards to ensure an optimal viewing angle that allows you to enjoy both the performance and the written information simultaneously.
The accessible performance will also feature a hearing loop and amplified sound , making the experience easier for viewers with hearing aids or hearing difficulties. In this way, the production is adapted so that a wider range of people can enjoy the experience, reinforcing the idea that classics, reimagined or not, should be accessible to all audiences.
Duration, recommended ages and tone of the show
In terms of its practical format, Hamlet.01 lasts approximately 120 minutes , which unfold without a sluggish pace thanks to the dynamism of the monologue and the constant implicit interaction with the audience. The performance is not conceived as a short piece, but rather as an in-depth journey through a single act that offers much more than it initially appears.
The production team generally recommends that this play is suitable for all audiences , although it's worth noting that the text incorporates references, philosophical reflections, and wordplay that will likely be particularly enjoyable for theatergoers or those with an interest in the classics. In any case, the intention is that no one feels excluded and that the humor serves to make the content accessible to a wide range of ages.
The tone of the show combines irreverence and respect . On the one hand, it breaks the conventions of solemn tragedy, makes jokes, questions the prince's behavior, and pokes fun at some of the clichés surrounding the figure of Hamlet. On the other hand, it maintains a profound appreciation for Shakespeare's genius, without resorting to easy mockery or disdain for the original.
In this sense, the proposal can also be seen as an entry point to Hamlet for those who have always perceived the play as a “difficult” or overly serious text. The stand-up tragedy opens cracks through which curiosity, playfulness, and laughter seep, allowing the audience to better understand what it's all about without having memorized the play.
An invitation to rediscover Shakespeare from the 21st century
Beyond the anecdote of turning the Prince of Denmark into a supposed comedian, Hamlet.01 raises a broader question about how to continue engaging with the great texts of the universal repertoire. Instead of repeatedly staging the same solemn productions, Belbel advocates opening up the classic, questioning it, laughing with it, and sharing his doubts with contemporary audiences.
This approach underscores that the classics are, to a large extent, interpretive battlegrounds where each generation seeks its own way of understanding them. The director's incomprehension of certain aspects of the original work is not hidden, but rather becomes the driving force of the project: if even a seasoned professional feels overwhelmed by Hamlet, why not transform that feeling into theatrical material and share it with the audience?
Through contemporary language, a rhythm close to that of a comic monologue, and a perspective that is not afraid to laugh at itself, the piece invites the audience to do something similar: admit that they don't know everything, let themselves be carried away by the game, and allow themselves to be moved when the story reaches its most tense moments, even knowing from the beginning how it ends.
Ultimately, Hamlet at the Teatro Español presents itself as a theatrical experience that combines intellect and visceral emotion: a lucid analysis of a monumental text, disarming humor to break down barriers, and pure emotion when tragedy takes center stage. All of this is sustained by Enric Cambray's dedication, Sergi Belbel's writing and vision, and the support of an emblematic venue like the Sala Margarita Xirgu.
For those curious about Shakespeare, for those who think they've seen everything about Hamlet, or for those who have always kept their distance from the classic for fear of not understanding it, this version offers a unique opportunity: to approach one of the great myths of universal theater through laughter, doubt, and closeness, letting the prince himself tell us his story as if we were chatting with him one afternoon at the Teatro Español in Madrid.
