In Hamlet, the plot moves to modernity, making an analogy between the old Kingdom of Denmark, where the original piece is developed, and a modern-day multinational company. Although time - understood chronologically - passes between one piece and the other, the themes dealt with remain the same. There is talk of betrayal, abuse and power games, harassment, voracious and unscrupulous pursuit of profit and inefficiency. The absence of contact between the cast throughout the play, for example, reflects an autistic and dehumanised society.

In the absence of a stage and using a simple and contemporary costume (suit and tie) there is no restriction on the actor's work to the representation or interpretation of a character, because they are all Hamlet. He communicates with the word but also with the body, with the gesture, with the sound. The hyperrealism of the work and the constant recourse to onomatopoeias transport the spectator to a truly sensory and cinematographic journey. The waste of the scenery also serves, in the opinion of the director José Carlos García, to "awaken the imagination of the audience that cannot be passive", on the contrary, "it has to imagine beyond what it sees".