Hamlet opens on a question – ‘Who's there?’ – asked by a sentinel of Elsinore Castle. In the Swedish regional theatre company Västanå Teater's 1996 adaptation of the play, the question kept returning, and it became symbolic of the production's focus on the uncertain and seemingly mysterious movements of political power. This article explores how changes to plot and text worked together with various forms of stylisation to present a society in which strict hierarchies of class, age and gender operated in tenson with Machiavellian corruption and theatrical seeming. Borrowing localised aesthetic expressions from several traditions and cultures (Norwegian/Nordic, Icelandic, East-Asian, Italian/European), the production adapted Hamlet to speak to local concerns, while simultaneously highlighting themes and issues present in the play.