The continual re-invention of Hamlet

The young actor’s Everest

Shakespeare’s Hamlet has featured on recent exam syllabuses for a number of years. At over five hours’ playing time (uncut) it calls for massive physical stamina from its lead. But more than that, it demands huge emotional depth and range to inhabit the complex and memorable language with which Shakespeare creates the part.

For most young male actors, the role stands as a benchmark against which they must compare themselves, an Everest there to be climbed, their chance not only to make a mark in the theatre world but to be ranked against their peers.

A variety of readings

Given the play’s credentials, as well as its cultural dominance, it is no surprise that every year sees the staging of a number of productions. This is a gift to any teacher wanting their students to understand the dynamics of the drama which operate beyond the page.

How does Hamlet regard Ophelia for example?

• With disgust at her complicity?
• With pain and loss?
• With confusion and despair?
• In anger that any woman may be fickle like his mother?

Any and all of these interpretations are valid readings of the text, so it relies on the tone and gesture of the actor to clearly demonstrate his decision about Hamlet’s motivation.

If you are studying Hamlet this year, see if you can get to one of the productions outlined below. If you can get to more than one, it will be illuminating to see the changes each performer (and director) make to the drama and discuss your responses to the variations.

There is no one way to read Hamlet, but a multiplicity of ways to appreciate it. Enjoy!

Hamlet productions in 2011

Royal National Theatre. Directed by Nicholas Hytner. Rory Kinnear (Hamlet), Clare Higgins (Gertrude), David Calder (Polonius). Lyttelton Theatre, London, 13 – 23 April (020 7452 3000). www.nationaltheatre.org.uk

Northern Broadsides. Directed by Conrad Nelson. Nicholas Shaw (Hamlet), Finetime Fontayne (Claudius), Becky Hindley (Gertrude), Richard Evans (Polonius), Tom Kanji (Laertes) and Natalie Dew (Ophelia). Viaduct Theatre, Halifax, 29 March – 2 April; Canolfan y Celfyddyday Aberystwyth Arts Centre, Aberystwyth, 6 – 9 April; West Yorkshire Playhouse, Leeds, 19 – 30 April; Theatre at the Mill, Belfast, 4 – 7 May; Gaiety Theatre, Isle of Man, 19 - 21 May; The Rose Theatre, Kingston, 24 – 28 May. www.northern-broadsides.co.uk

Brentwood Shakespeare Company. Directed by Glenda Abbott. Brentwood Theatre, 13-16 April (01277 200305). www.brentwood-theatre.org.

Shakespeare’s Globe Company. Directed by Dominic Dromgoole. Joshua McGuire (Hamlet). Strode Theatre, Street, 19 – 21 April (01458 442 846); Shakespeare’s Globe, London, 23 April - 9 July (020 7401 9919); Pavilion Gardens Buxton (adjacent to the Buxton Opera House), 4 – 5 August (0845 12 72190). [Small-scale tour - Part of the Word is God Theatre Season 2011]. www.shakespeares-globe.org

Stamford Shakespeare. Rutland Open Air Theatre in the grounds of Tolethorpe Hall, Little Casterton, 5 July – 27 August (01780 756133). www.stamfordshakespeare.co.uk.

Young Vic Company. Directed by Ian Rickson. Michael Sheen (Hamlet). Young Vic Theatre, London, 28 October - 21 January 2012 (020 7922 2922). www.youngvic.org

The Madness of Hamlet

The Madness of Hamlet set in Zimbabwe? How can that be relevant to A Level English students? Well, it depends whether you want an interesting take on a (perhaps overly familiar) text, where the action has been stripped to its story-telling essentials.

• The premise seems impossible – the first folio text acted by only two (male) actors and using only two props? How can a play with multiple characters, plot lines and changes of scene be made sense of, in only 90 minutes?
• In fact the version by Two Gents Productions of Kupenga Kwa Hamlet which I saw on Monday is dramatic and exciting, never hard to follow and throws up some fascinating insights on a well known tale. Physical energy is punctuated by moments of stillness, tragedy offset by easy humour, seeming to recapture the dynamism that perhaps existed in rehearsal 410 years ago.

If you are studying Hamlet for an exam course, the opportunity to see a live performance of the play is highly likely. The central role is seen by actors as the Everest of their early career (as Lear is once they are at the other end of it). Currently performing at the National Theatre is Rory Kinnear, who has garnered rave reviews.

But if you want to think and (re)engage with this classic in a fresh way that still honours Shakespeare’s intentions, investigate http://www.watermill.org.uk/kupenga_kwa_hamlet.html for the chance to experience a great piece of theatre.

And if you want to make sure you know the play before you go, check out Hamlet on Crossref-it.info, where there are handy synopses, as well as detailed information about the text.

Why is Hamlet so popular?

You may or may not find the play personally appealing, but the rest of the world and the acting fraternity certainly do! Of all the plays written by Shakespeare it is the one that generates the most performances with high profile actors (and consequent media coverage).

The most recent actor to generate column inches is Jude Law, who is proving to his critics that he can handle the huge range and complexity of the Danish Prince after the froth of chick flick offerings such as The Holiday. The production is currently running at London’s Wyndham’s Theatre until 22nd August (www.delfontmackintosh.co.uk), so try and get there if you can, even if you are not studying it. Watching any Shakespeare on stage is illuminating.

Last year everyone was raving about David Tennant’s interpretation of the role, full of angst and quicksilver wit. Even if you have seen a production before, it is fascinating to watch a new production and see how varying casts and directors can bring out so many different facets.

Haven’t yet come across the play? It always helps to get familiar with the plot and characters before you get to the theatre, so a quick trawl through the scene synopses at Crossref-it.info will fill you in. After watching a performance you can investigate the site further and see what the director chose to leave out as much as include (Hamlet runs at about five hours uncut!).

If you have been lucky enough to see a production of the play recently, why not let us know what you thought, so others can benefit from your insights?