**How ‘Grand Theft Hamlet’ Transformed Shakespeare into an Innovative Virtual Production**
During the solitary periods of lockdown, many of us explored inventive methods to maintain connections. Some facilitated Zoom trivia with friends, while others synchronized movie screenings with family around the world. Meanwhile, filmmakers Pinny Grylls, Sam Crane, and Mark Oosterveen elevated the experience by orchestrating an immersive, multi-location rendition of Shakespeare’s *Hamlet*—entirely within the digital realm of *Grand Theft Auto Online*.
This bold undertaking, chronicled in the film *Grand Theft Hamlet*, captures the trio’s odyssey as they brainstorm, rehearse, scout virtual locations, cast performers, and ultimately enact the legendary tragedy of the Prince of Denmark—all within Rockstar Games’ expansive online environment. The outcome is truly groundbreaking. The film delves into the relationships forged in online multiplayer experiences, the hurdles of producing art in unusual settings, and the essential part digital platforms played in maintaining our connections during the COVID-19 crisis.
### From Digital Disorder to Digital Theatre
The narrative kicks off with Crane and Oosterveen, both theatre actors, navigating *GTA Online* during the UK’s third lockdown. With theatres closed and their careers on pause—Crane was poised to take on the role of Harry Potter in *The Cursed Child* at London’s West End—the duo found comfort in the chaotic diversion of *GTA*. In the film, their real-life personas are never shown; instead, we follow their avatars as they commandeer vehicles and stir up chaos. During a gaming session, they discover an outdoor theatre within the game’s universe and start reciting Shakespeare to the vacant virtual audience.
What began as a whimsical moment rapidly transformed. The pair started documenting their in-game escapades and posting them on YouTube. Grylls, a filmmaker, promptly joined the venture, motivating them to broaden their project into a full-fledged production. Utilizing her avatar’s in-game mobile device to capture close-up footage, Grylls played a crucial role in evolving their concept into a complete virtual adaptation of *Hamlet*. Naturally, the journey was not without obstacles—unexpected players frequently disrupted rehearsals by attacking everyone, compelling the team to integrate respawning into their routine.
### A New Era in Machinima
While *Grand Theft Hamlet* represents a pioneering blend of cinema and gaming, it falls within a broader tradition referred to as machinima—the craft of producing narrative films using video game technology or engines. This medium has been around for many years, with early examples such as the well-known *Red vs. Blue* series emerging in the early 2000s.
At a BAFTA event in London, Crane remarked on the revival of machinima in recent times, fueled by the increasing sophistication of video games and their rising cultural legitimacy. “As video games have grown more visually stunning and acknowledged as a medium, they’ve opened up new avenues for creativity,” he elaborated.
### Challenging the High Art vs. Low Art Division
One of the most compelling elements of *Grand Theft Hamlet* is its ability to break down the assumed distinction between “high art” and “low art.” By combining Shakespeare with the universe of *GTA*, the film exposes the hypocrisy of dismissing video games as trivial while elevating theatre to high culture.
“Shakespeare’s plays were deemed entertainment for the public in his day,” Crane noted. “Similarly, many in the theatre community regard video games as childish nonsense. However, Shakespeare was rowdy, humorous, profane, and violent—much like *GTA*.”
Oosterveen shared this perspective, highlighting the similarities between the two forms. “Shakespeare was gritty and popular in his era, much like video games are now. The creativity and intricacy of today’s games merit the same level of respect.”
### A Truly Independent Creation
*Grand Theft Hamlet* embodies the essence of independent filmmaking. Produced entirely from Grylls, Crane, and Oosterveen’s homes, the film was created on a modest budget using basic equipment like a Mac and Adobe Premiere. “We recorded everything in 4K with a simple capture device,” Grylls explained. “It was handmade, exploratory, and provided us with ample creative liberty.”
The film’s DIY ethos contributed to its unrefined authenticity. “We were always capturing footage,” Grylls recounted. “Certain moments, such as an argument among us, were entirely genuine and spontaneous. It was all part of the experience.”
For Grylls, the endeavor was also profoundly personal. As a deaf filmmaker, she discovered gaming to be an accessible medium that empowered her in ways traditional filmmaking could not. “I ceased filmmaking in 2016 after losing my hearing,” she shared. “But gaming allowed me to re-enter the field. With live captioning and other resources, I could engage and create in ways I had never imagined.”