The Bard's tragedy gets blasted into orbit, transformed into a cosmic Glam rock comedy featuring norse gods, gladiator pits, space misfits and a golden robot.
Containing adult language, puppet violence and at least one song that Shakespeare definitely didn't write, it is the ultimate treat for fans of Operation Mincemeat, Avenue Q and Forbidden Planet.
 |
| Lewis Aves. |
It's Shakespeare. In space. With Norse hammers. And Muppet-like aliens running amok.
We caught up with Dan Sturman, composer, lyricist, book writer, scenic designer, sound designer, graphic designer, puppet maker, scenic builder and set designer, to learn more.
Hamlet is perhaps the most famous tragedy in the English language. At what exact moment did you say to yourself, "This needs space Vikings, violent puppets, and a David Bowie-inspired glam rock soundtrack"?
It hit us when we realized that the high-stakes melodrama and cosmic angst of Shakespeare’s original play actually mirror the theatricality of 1970s glam rock. Hamlet’s existential dread feels right at home on a galactic stage surrounded by space Vikings and chaotic, Muppet-style alien puppets. Combining classic tragedy with sci-fi absurdity felt like the ultimate way to bring fresh energy and big laughs to a centuries-old story.
It hit us when we realized that the high-stakes melodrama and cosmic angst of Shakespeare’s original play actually mirror the theatricality of 1970s glam rock. Hamlet’s existential dread feels right at home on a galactic stage surrounded by space Vikings and chaotic, Muppet-style alien puppets. Combining classic tragedy with sci-fi absurdity felt like the ultimate way to bring fresh energy and big laughs to a centuries-old story.
The show draws comparisons to irreverent hits like Operation Mincemeat, Avenue Q, and Forbidden Planet. How do you balance genuine Shakespearean drama with madcap sci-fi comedy without losing the core emotional stakes of Prince Hamlet’s journey?
We keep the structural backbone of Shakespeare’s narrative intact—at its heart, it is still a straight, punchy adaptation of Prince Hamlet seeking revenge for his father. The humor comes from the outrageous environment, high-energy score and eccentric characters surrounding him. By treating Hamlet’s emotional journey with sincerity amid the cosmic chaos, the comedy hits harder without undercutting the tragic stakes.
How did you go about world-building the Denmark System and its lore? Did setting it in a distant galaxy unlock new narrative solutions that Shakespeare’s original setting couldn't offer?
Reframing the kingdom as the "Denmark System" allowed us to push every element to its absolute maximum. Deep Space also gave us the freedom to explore what happens to Hamlet after he is temporarily banished from his “home planet” with gladiatorial pits, alien creatures and high-tech weaponry, giving classic conflicts a fresh visual language. We play with familiar tropes, after all, when you strip away the period costumes, is Prince Hamlet’s classic journey really all that different from Luke Skywalker’s?
Reframing the kingdom as the "Denmark System" allowed us to push every element to its absolute maximum. Deep Space also gave us the freedom to explore what happens to Hamlet after he is temporarily banished from his “home planet” with gladiatorial pits, alien creatures and high-tech weaponry, giving classic conflicts a fresh visual language. We play with familiar tropes, after all, when you strip away the period costumes, is Prince Hamlet’s classic journey really all that different from Luke Skywalker’s?
David Bowie’s influence looms large over sci-fi and rock theatre. How does the glam rock sound mirror Hamlet’s internal existential crisis and theatrical angst?
Glam rock is a broad church and in it you have everything from the classic rock and roll right up to Art-rock that defines 70s Bowie and his peers so well. So there is room for angst, fear, reflection, ambition and wonder all inside our musical world. We’re not just Bowie of course, he’s just the king of this genre. In addition to a glam rock sound, we also have more cinematic space music, Ska, ballad, comedy songs, but it all is held together in its own strange eclectic way that feels true to the genre.
Glam rock is a broad church and in it you have everything from the classic rock and roll right up to Art-rock that defines 70s Bowie and his peers so well. So there is room for angst, fear, reflection, ambition and wonder all inside our musical world. We’re not just Bowie of course, he’s just the king of this genre. In addition to a glam rock sound, we also have more cinematic space music, Ska, ballad, comedy songs, but it all is held together in its own strange eclectic way that feels true to the genre.
The show notes mention "at least one song that Shakespeare definitely didn't write." Without giving away too much, what can you tell us about the most outlandish or unexpected musical number in the score?
Without spoiling the surprise, one standout crowd favourite is "The Game". It’s a powerful, show-stopping duet where two of our female leads take a sharp, modern look at how women are routinely ignored and sidelined by the warring men around them. It brings incredible musical fire while putting a fresh, unexpected spotlight on the story. Our diverts from Shakespeare in that Ophelia is involved in the storyline until the end, rather just wondering off to kill herself.
Without spoiling the surprise, one standout crowd favourite is "The Game". It’s a powerful, show-stopping duet where two of our female leads take a sharp, modern look at how women are routinely ignored and sidelined by the warring men around them. It brings incredible musical fire while putting a fresh, unexpected spotlight on the story. Our diverts from Shakespeare in that Ophelia is involved in the storyline until the end, rather just wondering off to kill herself.
 |
| Nic Gordon. |
You're based in the UK and your co-writer R.C. Staab is based in New York. After working together for over a dozen years, what does your songwriting process look like across the Atlantic? How do you pass ideas back and forth?
We’ve been collaborating across the Atlantic for over 16 years, so distance is second nature to us now. We pass lyric drafts, audio memos, and scene ideas back and forth across time zones constantly. The delay actually helps us reflect on ideas before bouncing them back. Fortunately, today it’s so much easier to connect with Google Docs and talking and texting via WhatsApp.
From Zombie Wedding at the NYC Fringe Festival to Space Hamlet in London, how has your collaborative dynamic evolved over the past decade?
We’ve developed a shorthand where we trust each other’s instincts implicitly. Over the years, we've gotten bolder with our concepts—taking wild, high-concept ideas like zombie nuptials or space Vikings and structuring them into tight, full-throttle musical comedies. We’ve both gone and worked on different shows either solo or with other collaborators, but I think we enjoy working together more than anything.
Puppets often carry a reputation for being strictly for children—unless you're Avenue Q or The Muppets doing a late-night set. What role do the puppets play in Space Hamlet, and how do you write music that fits puppet choreography?
The idea of the using Muppet-style alien puppets came very late into the project, long after the script was finished and the songs. The director suggested Muppets as a Greek chorus and for a few key one-off character roles. We’ve grown quite fond of our furry friends. They add an element of pure visual fun that contrasts brilliantly with the dramatic storyline.
The show enjoyed a sold-out run with Open Door Theatre in Norwich in 2025 before making the leap to London. What did you learn from the Norwich audiences, and how has the show changed or tightened for its London premiere?
The Norwich run showed us how well the humor and music connected across all age groups. Moving to The Cockpit in London—a venue with superior technical and staging capabilities—allowed us to upgrade the entire production. We’ve tightened the emotional beats, added richer choreography, enhanced the LED set design and elevated the sound design to deliver an even bigger experience.
How do you hope traditional Shakespeare aficionados react to Space Hamlet? Have any hardcore Bard fans surprised you with their feedback?
We hope Bard enthusiasts appreciate that, under all the glam rock and space-viking flair, we maintain a genuine respect for the original play’s narrative drive. Classic fans are often the ones who enjoy it most because they spot all the subtle adaptations, line references, and clever twists we’ve baked into the sci-fi setting. An artistic director at the Norwich Theatre Royal said it best: “Space Hamlet was an amazing way of sharing the story of Hamlet to an audience that might otherwise not have been introduced to Shakespeare.”
If you could ask Shakespeare a question about Hamlet, what would you choose to ask him?
We'd ask him: "How do you feel about electric guitars, LED-lit space rocks and a golden robot playing your lead roles?" We like to think he was enough of a showman to appreciate the spectacle.
We'd ask him: "How do you feel about electric guitars, LED-lit space rocks and a golden robot playing your lead roles?" We like to think he was enough of a showman to appreciate the spectacle.
What was the first piece of theatre that had a big impact on you?
It probably was The Phantom Of The Opera. Somehow I had seen The Rocky Horror Picture Show way too young but that’s a movie, and it cemented a love for musicals but also for stories set in strange worlds to explore. Phantom has great music and design, but I think the storytelling is so focused it's like a laser that builds right up to that perfect final 15-minute scene. If our Hamlet aspires to anything, it's to have our score and our storytelling be something that builds up to the final duel scene where all the passions and energy at at explosive levels.
It probably was The Phantom Of The Opera. Somehow I had seen The Rocky Horror Picture Show way too young but that’s a movie, and it cemented a love for musicals but also for stories set in strange worlds to explore. Phantom has great music and design, but I think the storytelling is so focused it's like a laser that builds right up to that perfect final 15-minute scene. If our Hamlet aspires to anything, it's to have our score and our storytelling be something that builds up to the final duel scene where all the passions and energy at at explosive levels.
What would you hope someone takes away from seeing Space Hamlet?
We want audiences to leave energized, humming the songs and thoroughly entertained. Whether you know every line of Shakespeare or haven't read a word of it, we hope you walk away having experienced a fun, unique night of glam rock musical theatre while appreciating Shakespeare’s most intriguing work.
We want audiences to leave energized, humming the songs and thoroughly entertained. Whether you know every line of Shakespeare or haven't read a word of it, we hope you walk away having experienced a fun, unique night of glam rock musical theatre while appreciating Shakespeare’s most intriguing work.
Space Hamlet runs at The Cockpit Theatre in London from 22nd until 31st October 2026. For tickets visit https://www.thecockpit.org.uk/show/space_hamlet
You can find out more about the show by visiting https://www.spacehamletmusical.com/
Post a Comment