The paper aims at handling sample digital performances of Shakespeare's Hamlet. They are tackled within the framework of the postmodern theory. The fact that Hamlet is a widely popular play helps to illustrate the tinge of distinction each production has-especially the digital one. Critical analysis of the performances handled is illustrated, with emphasis on each production's peculiarity. Laurel, Baudrillard, and Schechner are among the ones who have theories regarding the digital realm and are referred to in this paper. On the one hand, the paper attempts to display the somewhat correlation between the digital performances of Hamlet generally, and Aristotle's theory. On the other hand, it refers to the term simulacra in the digital realm with reference to Baudrillard. Naturally, one of Schechter's productions of Hamlet could not be but handled due to its novelty when it was performed. Cumberbatch's and Essiedu's performances of Hamlet are introduced as well, followed by a reference to the transformative nature of such productions. The Hamnet Players' performance of Hamlet is the last one illustrated to reveal that the text is no longer the entire focus of the players who may depend heavily on improvisation and wit. Stuart Harris has led the performance using IRC (that is: Internet Relay Chat) and the audiences should be well-informed of the IRC text-language and the original play's incidents. Such production can be regarded as a parody of the Shakespearean play. The paper ends with a conclusion that displays the further possibilities of the performance's theories.