And this turmoil is matched by the state of Hamlet’s mind. He is a man deeply wounded by the murder of his father, the Old Hamlet and former King of Denmark, by his uncle Claudius. Not only this, but Claudius has seized the throne and married Hamlet’s mother, Queen Gertrude.

Luke Thallon’s portrayal of Hamlet is brilliantly complex and multi-layered. Cynical and embittered, Hamlet refuses to engage emotionally with either uncle or mother, yet his occasional lapse into humorous affection with his friend Horatio provides insight into the person he used to be. Thallon’s delivery of soliloquies directly to the audience reveals the character’s inner world, whilst his facial gestures foretell the madness yet to come.

As Hamlet’s preoccupation with the rot in the Kingdom of Denmark and his desire for revenge grow, so Thallon’s use of physicality and facial ticks become more palpable. This Hamlet is not only a man who is deeply melancholy, but a man whose indecision is driving him towards insanity. On either side of the stage, digital clocks count down towards midnight, each passing minute illustrating the pressure on him to act. Yet ultimately, even when Claudius’ guilt is proven beyond doubt, he draws back from revenge. He is all too human and all too recognisable.

Other performances are also richly characterised. Claudius, played by Jared Harris, is clearly in control, although his precarity is implied when his courtiers turn away from him as he kisses Gertrude. His feelings of guilt and his request for God’s forgiveness are short-lived, as he shows himself unprepared to give up what he has gained, namely the crown and the queen.

Elliot Levey gives Polonius a modern take, his clumsy attempts to provide equal measures of paternal advice and fatherly affection to his son Laertes and his daughter Ophelia failing on both counts.

Nia Towle plays Ophelia with a dignity that holds firm, despite Hamlet’s attempts to destroy her. Her own journey into madness after the murder of her father is handled with subtly and grace.

The Americanisation of Rosencrantz and Guildenstern, easily-led and manipulated by members of the royal family, gives a nod to viewpoints prevalent today.

Meanwhile, others unravel before our eyes. Hamlet’s soliloquy “To be or not to be” is accompanied by crazed pistol-waving, when he learns that his uncle was, indeed, the murderer of his father. Gertrude, played by Nancy Carroll, descends into her own nightmare as she finds the pillars of her security destroyed one by one. Clever use of costuming leaves both Hamlet and Gertrude soaked in blood, their clothes and hair dishevelled.

The play-within-a-play is surreal in nature. Its use of physicality and vocal expression is a force that gets under the skin of Claudius and Gertrude, whilst the doubling of the exceptional Anton Lesser as the Ghost of Old Hamlet and also the Player King heightens Hamlet’s agitation yet more.

Set, lighting and effects are akin to being a character in themselves in this production. Ghost scenes are spine-chilling. Storm scenes, conjured up via digital backdrop, flowing water downstage and sound effects are stunning. The ever-changing rake of the stage, which tips forward and back at tempestuous points in the plot, is striking. So is the swordfight between Hamlet and Laertes which takes place when the stage is at its steepest rake. Just occasionally, background effects are a little overdone, with actors in the final scene having to fight against noise to be heard.

In all, this is a triumph of a production, both in interpretation and delivery. An atmosphere of suspense heightens the drama as we step into the internal world of the tormented Hamlet, and understand something of his response to the dilemmas that entrap him. No wonder Thallon did a dance around the stage when the cast took its bow at press night.

Hamlet was directed by Rupert Goold. Set design was by Es Devlin and lighting designer was Jack Knowles. Costume design was by Evie Gurney. It runs at Stratford until 29th March. For further information visit rsc.org.uk.