The Hamlet Set That Redefined Sustainability

A revolutionary sustainability project. Hamlet at the National Theatre’s Lyttelton stage became a rare project where precise engineering and sustainability ambitions met in one place. Scott Fleary was responsible for bringing Ben Stones’ design to life and worked closely with the National Theatre to deliver a set that was both visually compelling and technically demanding. The production also served as a major trial for a new modular flattage system, marking a shift in how sets can be created for long-term reuse. The project became a real-world test of how the principles of the Theatre Green Book can work on a major show.

This sits within a wider shift happening across the industry. Sustainability targets are increasingly being shaped by UN Sustainable Development Goals and cultural funding criteria are starting to reflect this. Theatres and producing organisations are responding through material reuse, energy awareness and longer life cycles for scenic elements. The push is becoming structural rather than optional which places projects like Hamlet in the early wave of work shaped by policy as well as creativity.

The production of Hamlet stars Olivier Award-winner Hiran Abeysekera in the title role. It is directed by Robert Hastie and designed by Ben Stones, combining a bold reinterpretation of Shakespeare’s text with modern staging and visual design. The production, while rooted in the original tragedy, presents the tale with fresh energy and immediacy for a contemporary audience.

A closer look at the Hamlet project and its ambitious staging

The Hamlet production called for an elegant and technically complex set that could support varied stage action while maintaining a strong architectural identity. The design drew inspiration from The Painted Hall at Greenwich, with detailed panelling, mouldings and ornamentation forming a key part of the visual world. Scott Fleary carried out all construction work apart from the cornice and collaborated closely with the National Theatre’s scenic artists, who handled the finishing. We phased the delivery of completed elements to allow the in-house team to carry out paint treatments and detailing efficiently.

View some of the incredible set work here.

​​Theatre also has something powerful on its side. Short production cycles mean new methods and materials can be tested, refined and used again within months. Change can build quickly because each show becomes a learning opportunity rather than a one off. Where other sectors move slowly, theatre has room to trial and improve in real time.

The set relied on large structural pieces and demanding mechanical movement. Several door units towered over three metres high and had to travel smoothly in and out of their openings throughout the performance. Because they needed to move freely, door sills could not be used. This required Scott Fleary to solve the problem of keeping the frames square under load, since door sills normally prevent the legs from pinching or opening.

Another major feature was the upper structure of the set, which was engineered so that half of it could fly out into the grid. Every alignment had to be accurate to the millimetre to ensure the architectural elements matched perfectly when the set returned to position. The project demanded careful planning, precision and engineering between teams to achieve the required effect.

How sustainability shaped the Hamlet build through modular construction

The Hamlet project was built around the National Theatre’s new modular flattage system, which Scott Fleary constructed for the first time on a full production. This system is composed of modular steel frames clad in twin-wall polycarbonate panels and wrapped in painted canvas. Its purpose is to allow scenic reuse and rapid reconfiguration. Hamlet served as the trial production for this approach, making it a key moment in testing whether the system could meet the demands of a full-scale show.

Because the frames are standardised and built to last, they can be used again in future productions. Scenic surfaces can be changed or replaced without discarding the underlying structure. This gives the theatre a more flexible resource that reduces the need for entirely new flats each time and aligns with the principles of the Theatre Green Book, which encourages reuse wherever possible.

The engineering choices that supported circular design on Hamlet

Working with a modular system did not reduce the technical challenges. In fact, the precision demands made sustainable choices more meaningful. Durable steel frames and consistent structure help the system remain viable for future productions.

Scott Fleary had to deliver a system capable of enduring repeated load and handling. The ability to reuse these components depends on their strength and consistency. The distinction between modularity and disposability comes down to build quality. In this project, the engineering focus supports the long-term sustainability aim. If the components last, the modular system remains an asset rather than waste.

The collaboration between Scott Fleary and the National Theatre’s scenic team also supported circular thinking. Because finishes were applied in-house, the structure could be delivered in stages and handled with care, rather than completed and transported as heavily finished one-off pieces. This kept the modular frames at the centre of the build, ready for future applications.

The most useful outcome was not only what worked well but what was learned along the way. Sustainable practice grows through open discussion and shared experience. Progress accelerates when the success and challenge are part of an open dialogue.

How the National Theatre’s sustainability commitment supports projects like Hamlet

The National Theatre has publicly committed to reducing its environmental impact across all areas of its work. Sustainability is embedded in its Entertain and Inspire strategy, with the organisation working towards net zero by 2030. It has also adopted the Theatre Green Book Basic Standard, which guides productions in making responsible material choices.

The theatre has taken practical steps to support this ambition. It has introduced systems to track energy reduction, increased recycling rates across its operations, and developed the National Theatre Green Store to encourage the reuse of set materials. These efforts form the backdrop to projects like Hamlet. When a production trials a modular flattage system that supports reuse, it is part of a larger programme of change rather than a one-off experiment.

By staging Hamlet within this framework, the National Theatre created an environment that encouraged and supported innovation in sustainability. Scott Fleary’s work, the design vision, and the theatre’s organisational goals aligned to produce a set that helped shape future practice.

We’re very excited to work on more sustainable projects like this in the future.

If you’re looking for a creative construction company that meets sustainability standards, whilst upholding the incredible theatre production standard, contact us today.