Jan Englert, a prominent figure in Polish theatre, officially marked the end of his career as the director of the National Theatre in Warsaw with a poignant interpretation of Shakespeare's "Hamlet." The premiere, held on April 12, 2025, was not only a farewell to Englert's long-standing tenure but also a spotlight on the complexities of familial ties within the arts, as it featured his wife, Beata Ścibakówna, and daughter, Helena Englert, in leading roles.
This casting choice ignited discussions about nepotism, with some audience members labeling the production as "family theatre" and raising concerns about the appropriateness of such decisions in a professional setting. Despite the controversy, Englert defended his choices, stating that they were a deliberate reflection of his artistic journey. He expressed a desire to work alongside those who have supported him throughout his career, emphasizing the importance of collaboration with loved ones during such a significant moment in his life.
The premiere attracted notable figures from the media and arts, including journalist Monika Olejnik, who took to social media to share her thoughts on the performance. In her Instagram post, Olejnik praised the cast, particularly highlighting the talent of 21-year-old Hugo Tarres, who played Hamlet. "I haven't seen such a talented actor in a long time," she remarked, noting the modern set design and costumes that brought a fresh perspective to the classic text. Olejnik also commended Helena Englert's portrayal of Ophelia, stating, "Kudos to Helena Englert in the role of Ophelia. Jerzy Radziwiłowicz as the King—an actor, a master, will always be the King of the stage!"
However, not all reactions were positive. Some critics and audience members expressed disappointment, suggesting that the focus on the cast overshadowed the essence of Shakespeare's work. The debate around nepotism in the arts is not new, but Englert's decision to cast his family members brought it to the forefront once again. Kinga Rusin, another prominent media figure who attended the premiere, also shared her impressions online. She expressed her admiration for Helena's performance, especially the scene depicting Ophelia's madness, which she described as unforgettable.
Rusin addressed the nepotism accusations directly, asserting, "Children can be as talented as their parents. I know some find it hard to accept." Her comments resonated with many, as several audience members echoed her sentiments in the comments section of her post, emphasizing the challenges faced by children of famous figures in carving their own paths in the industry.
Englert's production of "Hamlet" is a modern take on the classic, with contemporary references woven throughout the performance. The set design and costumes reflect a blend of traditional and modern aesthetics, aiming to connect with today's audience while preserving the integrity of Shakespeare's work. This approach was well received by some viewers, who appreciated the innovative interpretation and the performances of the young actors.
Hugo Tarres's portrayal of Hamlet has been described as one of the standout performances of the evening, with many praising his fresh take on the iconic role. Critics have noted that his interpretation could be a significant stepping stone in his career, showcasing his potential as a rising star in Polish theatre. As the youngest actor to take on this challenging role, Tarres has certainly made an impression, and many are eager to see where his talent will take him next.
The premiere of "Hamlet" also served as a reminder of the shifting dynamics within the theatre community, particularly regarding the discussion of nepotism and meritocracy. While some may view Englert's casting choices as controversial, others see them as a testament to the strength of familial bonds and the importance of trust in collaboration. As the curtain falls on Jan Englert's directorial career, audiences are left to ponder the complexities of art, family, and the legacies we create.
As the dust settles on this high-profile premiere, it is clear that Jan Englert's final production has sparked necessary conversations about the nature of talent, opportunity, and the sometimes murky waters of familial connections in the arts. The mixed reviews and passionate discussions among attendees reflect the deep emotional ties and varied perspectives that theatre can evoke.
Ultimately, Englert's "Hamlet" not only marks the end of an era for the National Theatre but also opens the door for future generations of actors and directors to explore their own paths, free from the shadows of their predecessors. The legacy of Jan Englert will undoubtedly influence emerging talents, and as audiences continue to engage with the arts, the conversation around nepotism and meritocracy will persist, shaping the future of theatre in Poland and beyond.
