WILLIAM Shakespeare is the main reason I did American Studies (Literature) at university because choosing the English Literature degree would have meant reading the playwright’s work.

And when I say reading I mean reading three plays a week before spending countless hours debating the symbolism.

For me this is not what Shakespeare should be about, it should be about the performance.

My view, and degree course choice, means I can tell you much about the symbolism of ears of corn in American Midwestern plays from the 1920s but all I really knew about Hamlet before taking my seat in the Playhouse was that it is set in Denmark.

Oh, and I also knew there was a scene with a skull in it.

This meant I already knew it was going to be the best production of Hamlet I had ever seen.

And after the two and a half hour experience I’m pleased to say I think it will take some beating.

Yes, you read correctly, the Galleon Theatre company has stripped down the play to its bare elements and left out anything which disrupts the flow of the plot.

Shakespearian purists might disapprove but the company has also transported the play to the 1800s and within a Gothic Romantic aesthetic.

This is much more workable in the small space of the theatre as the costumes are not so big, leaving the audience with more chance to connect with the characters on an intimate level.

Intimacy is very important and intentional on the part of director Bruce Jamieson as after stripping Hamlet down to the foundations you are left with a tightly scripted and well-acted domestic drama.

It centres around the relationship between Hamlet, his mother Gertrude and her new partner Claudius, the new king of Denmark, while not forgetting the love interest Ophelia.

Also in the mix is a ghost from Hamlet’s past, who controls his future and sets him on the path to his destiny, which all adds up to a lot to jam into the small theatrical space.

But it works as the cast interact so well, they succeed in creating a world which is so much bigger than they are.

Central to this world is Hamlet, who is expertly acted by Robin Holden.

He sensitively plays the role of grieving son driven by his quest for revenge, justice and power so he is very believable while managing to be insightfully modern.

Indeed there are no weak performers in the cast with Elana Martin’s Ophelia also standing out.

From a doting maiden she gradually descends into madness while retaining her heavenly womanhood.

And in the swordfight scene the danger and excitement is there for the audience with the swoosh of the blades clearly audible as they cut through the air.

The expertly choreographed sequence brings a sense of safe danger to the onlookers who are almost close enough to get cut, but not quite.

If you have seen Hamlet before then go and see this one and if you have never seen it before then this stripped down production is a great place to start.

Hamlet runs at the Greenwich Playhouse until October 9. To book tickets and for more information, call 020 8858 9256 or email boxoffice@galleontheatre.co.uk