Hamlet & Me (Part VI)

Twenty-six years ago today, I decided that I was going to (somehow) direct a production of Hamlet. The following are contemporary accounts from my late twenties, about two books that were major inspirations in the development of my thoughts.

August 4, 1996

Yesterday, Dad presented me with a recently written book called "Modern Hamlets." It's pretty cool. It is a succinct look at a dozen 20th century actors who have played Hamlet, and how they set about performing the soliloquies.

At first I thought this emphasis on the soliloquy was precious. Why so specific, what is the point? A few chapters in and I see how, by zooming in on the soliloquies in specific, and not each performance in general, we get a brief distillation of each actor's Hamlet.

Reading this, reading how the great acting men of this century tackled what some feel is theater's greatest role (if not play) makes me long for directing Shakespeare. "Romeo & Juliet" was difficult, "Hamlet" would be more so, but I would like to try.

January 26, 1997

I can tell you this; thanks to Kenneth Branagh, no one ever has to produce an uncut "Hamlet" ever again. He has done it, he has done it on film, and regardless of what records it broke in the Guinness Book of World Records (first uncut Hamlet on film, longest Shakespeare on film) he has proven without a doubt that producing unabridged it is unnecessary.

However, Branagh's film highlighted all of the stuff that is normally removed. For example, everyone removes Fortinbras and everything to do with Norway (see: the Mel Gibson 1990 film) which robs the story of its depth. Branagh even turned Polonius into a much more political, scheming man, instead of just a doddering old fool, which was infinitely more complex and interesting, and still just as funny.

However, the Broadway 1995 production (Ralph Fiennes) kept all of these elements while still paring down the text. It is hard work, cutting down Shakespeare the right way. But it is also rewarding.

June 24, 1997

"Hamlet: A User's Guide" by Michael Pennington. I got it in England and read it very fast; another amazingly helpful text on the subject of what is most probably going to be my next Shakespeare.

My next project should be called the "Bad Epitaph Theater Company." I can't remember at what point in my life I came up with that one, it's old, I know it is, I don't know who talked me out of it, but if I start with a production of "Hamlet" (and there hasn't been one in this city since 1991) that would be a good name.

Anyhow, Pennington has done this play a dozen times, in most of the leading male roles, even Fortinbras, and has quite a bit to say about the subject.

December 23, 1997

I have finally decided to direct "Hamlet." Pennington reminds us that no one decides to produce this play without having already decided who is playing the main character. I didn’t believe this to necessarily be true until now. I have chosen a Hamlet, and now am obsessed with producing it.

Sources:

"Modern Hamlets and Their Soliloquies" by Mary Z. Maher (Iowa, 1992)

"Hamlet: A User's Guide" by Michael Pennington (Limelight Editions, 1996)

To be continued.