Hamlet
ABOUT THE PRODUCTION
Heralded by Dance Magazine as “sleek and sophisticated,” Stephen Mills’ Hamlet stands as one of Ballet Austin’s most celebrated and widely performed works. Since its debut following Mills’ appointment as Artistic Director in 2000, Hamlet has captivated audiences across the globe, making its international debut in Augsburg, Germany, and gracing prestigious stages in six U.S. cities, including performances by The Washington Ballet at The Kennedy Center and Atlanta Ballet.
This bold, contemporary reimagining of Shakespeare’s iconic tragedy blends powerful choreography with the evocative music of renowned composer Philip Glass. The production’s sleek, modern aesthetic, inspired by designer Giorgio Armani, enhances the dramatic storytelling and rich emotional depth, creating a breathtaking and unforgettable experience.
Having been performed by over 10 professional companies worldwide, Hamlet continues to be one of Stephen Mills’ most-licensed and traveled works, showcasing Ballet Austin’s reputation for groundbreaking productions that push the boundaries of contemporary ballet.
CHOREOGRAPHY: Stephen Mills
MUSIC: Philip Glass
COSTUMES: Christopher McCollum
SET DESIGN: Jeffrey A. Main & Stephen Mills
LIGHTING: Tony Tucci
RUN-TIME: 60 minutes in 2 acts
DANCERS: 20+ (10 women & 10 men)
AWARDS: 5 accolades ranging from “Best Dance Concert” to “Best Dancer”
VIDEO GALLERY
What Critics are Saying...
PHOTO GALLERY
Photos by Anne Marie Bloodgood
COMPANIES THAT HAVE STAGED HAMLET
Ballet Austin
The Washington Ballet
Milwaukee Ballet
Atlanta Ballet
BalletMet
Ballet Augsburg
Dayton & Ohio Ballet
Eugene Ballet
Sacremento Ballet
LICENSING INFORMATION
For information about licensing this production, contact us or view the Technical Specifications.
Paul Michael Bloodgood
Associate Director / Film & Video Production
paul.bloodgood@balletaustin.org
Bill Sheffield
Production Director
512.476.9151, ext. 113
bill.sheffield@balletaustin.org
Technical Specifications
Hamlet | Minimum Requirements |
---|---|
Stage size | 40 X 40 (last lineset) |
Grid height | 80 feet |
Wing space | 20 feet per side |
Upstage area | 10 feet |
Working linesets | 46 |
Stage floor | The stage floor must be resilient wood; the floor cannot be concrete or wood directly over concrete; if the surface is concrete, the Presenter must provide a professional dance sub-floor that must cover stage area from wall to wall. The surface must have any traps leveled, holes plugged, and no protruding nails or screws. The stage floor or sub-floor must be covered with a black, Marley-style dance floor. |
Soft goods provided by house | Full set of black legs and border, two full-stage black panels, two black scrims |
Recorded or live music | Recorded music or live orchestra |
Lighting | The Presenter shall furnish the company a complete inventory of house lighting equipment. The Company shall endeavor to work within the house instrumentation but any necessary rentals shall be at presenter’s cost. There should also be enough cable, side arms, C-clamps and color frames to sufficiently hang the lighting plot. |
Audio | One house speaker system–center cluster and/or house left and right speakers; two to four backstage monitor speaker; one announce-quality microphone, separately controlled; one headset communication system, with seven stations and operable headsets; and one paging system to dressing rooms. |
Power | Standard |
Typical set-up schedule | Day 1: Hang electrics and goods; Day 2: Focus/finish set up; Day 3: Cueing/dancers rehearse |
Personnel | One TD, LD required, 20+ dancers |
Shipping | Two semi trucks |