**How ‘Grand Theft Hamlet’ Transformed Lockdown Solitude Into Revolutionary Art**

In the isolating period of lockdown, individuals discovered innovative methods to maintain connections. Some organized Zoom quizzes with friends. Others synchronized movie nights with family around the world. Among them, filmmakers Pinny Gryllis, Sam Crane, and Mark Oosterveen elevated their creativity by staging an immersive, multi-site production of Shakespeare’s *Hamlet*—exclusively within the virtual realm of *Grand Theft Auto Online*.

This ambitious project birthed *Grand Theft Hamlet*, a pioneering cinematic venture that documents the trio’s journey through brainstorming, rehearsing, scouting locations, casting, and performing Shakespeare’s legendary tragedy—all set inside Rockstar Games’ online environment. The outcome serves as a distinctive investigation into creativity, collaboration, and the significance of online platforms amid the isolation experienced during the COVID-19 crisis.

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### From Gaming in Lockdown to Shakespearean Performance

The film introduces us to Crane and Oosterveen, two theater performers who found themselves unemployed during the UK’s third lockdown. Crane, for example, was poised to play Harry Potter in *The Cursed Child* on the West End before the pandemic closed theaters. In *Grand Theft Hamlet*, viewers never see the actors in their real forms—only their avatars, causing chaos in *GTA Online*.

One day, while navigating the game’s manic landscape, the pair discovered an outdoor theater. Naturally, they began reciting Shakespeare on its virtual stage. These spontaneous performances quickly evolved into brief YouTube clips that piqued Gryllis’ interest. She became part of the project, introducing a filmmaker’s vision and a creative energy that elevated their casual gaming into a comprehensive production.

Utilizing a smartphone from her avatar’s virtual pocket, Gryllis began filming close-ups in-game. Consequently, the endeavor blossomed into a complete *Hamlet* production—complete with rehearsals, casting, and occasional interruptions from random players who might join in, spectate, or, true to *GTA* style, disrupt the scene. Respawning, it turned out, became just another element of the process.

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### A New Era for Machinima

Although *Grand Theft Hamlet* marks a significant moment for the convergence of mainstream film and video games, it also fits within a broader tradition of machinima—films crafted using video games or their engines. This artistic form has existed for years, with early instances like the well-loved *Red vs. Blue* series in the early 2000s.

“Machinima has been around for a while,” Crane mentioned at a BAFTA event in London. “I believe it’s seen a revival lately because video games have grown more advanced and visually striking. Games are also earning a greater cultural appreciation, even outside the traditional gaming community.”

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### Bridging the Gap Between High Art and Low Art

By merging Shakespeare’s timeless text with the chaotic, often irreverent environment of *GTA Online*, *Grand Theft Hamlet* confronts the persistent boundary between “high art” and “low art.” The filmmakers illustrate how Shakespeare, now regarded as the apex of high culture, was previously viewed as entertainment for the masses—much like video games are viewed today.

“It’s amusing how easily people forget that Shakespeare was regarded as low art in his era,” Crane noted. “Many in the theater community disparage video games as childish nonsense, but that’s precisely how Shakespeare was perceived back then.”

Oosterveen remarked, “Shakespeare’s plays were rough, rowdy, humorous, profane, and violent—much like *GTA*. It’s an ideal fit.”

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### An Authentic Independent Film, Crafted at Home

When discussing “independent films,” the term can sometimes seem vague. However, *Grand Theft Hamlet* epitomizes true independence. The whole project was produced within Gryllis, Crane, and Oosterveen’s residences, using simple tools like a Mac, Adobe Premiere, and a 4K capture card.

“We had a showing at the IMAX for the London Film Festival, which was surreal,” Gryllis recounted. “I created this in my bedroom. It was genuinely handmade and on a tight budget, but that granted us immense freedom.”

The film’s DIY character also made it feasible for Gryllis as a deaf filmmaker. “Filmmaking remains an inaccessible art form for many, particularly those with disabilities,” she stated. “Yet gaming opens up new possibilities. Anyone can enter a server, start capturing footage, and narrate a story. For me, live captioning and tools like Otter enabled me to engage with others in ways I never imagined after losing my hearing.”

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### An Unconventional Ensemble