Exceptional casting and meticulous direction make this production a treat for ardent theatre goers.

It’s delightful to see the NT transferring so many shows over into the West End as we see a resurgence of limited run plays taking the capital by storm. Jack Thorne’s compelling drama focusses on the almost legendary rehearsal process leading up to Broadway’s 1964 production of Richard Burton’s Hamlet. Although running for a record breaking 137 performances and an undoubted hit, we see laid bare before us the less than smooth journey to mount the show. The original rehearsal period is the stuff of theatrical legend because of the taught friction and drama behind the scenes between Richard Burton and Sir John Gielgud and Jack Thorne masterfully turns this fact into a delectable theatrical drama all of its own.

At points the first act does feel slow but this is countered by the whirlwind we experience after the interval. It’s here that we really start to see the emotional depth, build and dramas of the persons before us. The perfect example of this is the beautiful duologue between Gielgud and his hired company in act two. Tenderly brought to life my Mark Gatiss (Who gives a consistently flawless performance throughout) and Laurence Ubong Williams. It’s these intimate glimpses into lives and interactions that really cause our engagement to be at its fullest.

That and of course the marvellous locking of horns between Gielgud and Burton as they progress through quite possibly one of the most disastrous rehearsal periods known. Any actors in the audience are bound to be cringing with a voyeuristic jollity.

A previous knowledge or understanding of both Hamlet and the notable characters on display are probably beneficial as Jack Thorne’s script lends very little time towards establishing these and instead puts Theatre itself as the lead character. The ups and downs, arguments and accords, triumphs and failings, affairs and enemies all come boiling to the surface until they explode matching perfectly with Burton’s carefully used shouting.

The productions stage design (Es Devlin) and lighting (Jon Clark) feel lifted directly from the Lyttleton run. Seamlessly (almost ironically like screen transitions) transporting us from key location to location.

Johnny Flynn gives us a Burton who is both vulnerable and brash, really capturing the famously formidable actor. His voicework leaning towards an homage of the Welsh actor’s melodic baritone. Gatiss does exemplary work with his Gielgud which leaves little to critique. The two central performances are bolstered by a strong ensemble led by Tuppence Middleton as a beguiling Elizabath Taylor.

For theatre fans this is a real treat, especially at the Noel Coward theatre where Gielgud himself played Hamlet. For those unfamiliar with Hamlet, Burton or Gielgud it would be well worth the most cursory of introductions before attending to get the most out of this delight of a drama.