People in the theater always refer to Macbeth as the Scottish play, so with a nod to that custom, I had the opportunity to watch the National Theatre Live Barbican Theatre production of Hamlet, with Benedict Cumberbatch taking on the role of Danish Prince - and I’m calling it the Danish play. Organized by the CCP and Ayala Cinemas, Hamlet was the last in the current season of once-in-a-month filmed stage performances; and I for one, am happy for the series and hopes it never ends.

It would look like I’m not the only one feeling that way. Call it the Cumberbatch magic, but reservations for the single showing at Greenbelt Cinema 1 were so overwhelming that the theater management opened Cinema 3 for a simultaneous screening. Being part of that Cinema 3 audience, I noted that most seats were occupied. Having watched stagings of Hamlet in the past, I’m aware that this is the longest of Shakespeare’s plays, with this filmed version extending well into the three-hour, twenty regions. And the audience was rapt, engaged in the storytelling and performances.

As directed by Lyndsey Turner, staged in modern dress, the first thing one would note was the vastness and depth of the Barbican, and how both set designer and lighting designer were challenged by the director’s vision to make full use of the space, and have it lend dimension and texture to the proceedings. Kudos to these two stage craftsmen for the wonderful work on this Hamlet.

Cumberbatch may be somewhat long in tooth to play a Prince, but full credits to Benedict for portraying the young Royal with a spry, alert demeanor; even jumping on and off a banquet table. And I liked how the ‘To be or not to be’ soliloquy was delivered without the classic skull, and still brought home the inner conflict of existing in a world where everything had been turned around, and contemplating mortality.

If there was a weak point for me, it would be Ophelia. Siân Brooke attacked her as unhinged, rather than melancholy; and so beside Hamlet, one didn’t see much contrast. More effective was her singing her lines to signal her descent into madness.

As Gertrude and Claudius, Anastasia Hille and Ciaran Hinds (Game of Thrones veteran) were clearly in their element. Hinds is at times overly bombastic but clearly relishes the role of would-be villain.

It was David Calder as Polonius who was this performance’s scene stealer, providing shafts of humor when needed and yet being such a reliable, solid bulwark of clarity.

Congratulations to the film crew, as this was the most impressive feat of filming an ongoing stage production yet. In other National Theatre Live!, cameras would be too static or miss out on facial expressions and asides. This one came close to perfection.

It would seem that these screenings of National Theatre Live will continue, with The Lehman Trilogy (directed by Sam Mendes) and One Man, Two Guv’nors (a comedy with James Corden) slated for later in the year. I'm happy to note that they’ll be back!