Here’s another one of those teeny details that I enjoy exploring.  When we first see Hamlet he’s traditionally dressed in black, in support of this exchange with his mother:

QUEEN GERTRUDE

Good Hamlet, cast thy nighted colour off,
And let thine eye look like a friend on Denmark.
Do not for ever with thy vailed lids
Seek for thy noble father in the dust:
Thou know’st ’tis common; all that lives must die,
Passing through nature to eternity.

HAMLET

Ay, madam, it is common.

QUEEN GERTRUDE

If it be,
Why seems it so particular with thee?

HAMLET

Seems, madam! nay it is; I know not ‘seems.’
‘Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected ‘havior of the visage,
Together with all forms, moods, shapes of grief,
That can denote me truly: these indeed seem,
For they are actions that a man might play:
But I have that within which passeth show;
These but the trappings and the suits of woe.

Maybe I’m painting this with too broad a stroke but I’ve always taken this to mean that everybody else is done with the mourning period, that only Hamlet is still wearing black, and his mother would like him to be happy again.

My question is this — does he simply wear black throughout the rest of the play and nothing is said of it again?  A reasonable period of time passes, does it not?  When he gets back from England, he’s still mourning?  Or maybe after he’s seen the ghost and has now gone into his antic disposition, he changes his clothes?  Signifying, at least to his parents, that he’s no longer obsessed with his father?

Assuming for the moment that that’s not true, and that he spends the whole play in black. How would it change his character if, at some point in the play, you put him in some other color?  Where would you do it?

Idea – right after the play within a play, where Claudius guilt is shown, and Hamlet is whooping it up with Horatio that his plan worked, maybe there’s an opportunity for him to grab a random scarf or other bit of cloth discarded by one of the players, and wrap it around himself.  Just a glimpse, while he’s talking to Horatio.  Then, when R&G and Polonius show up, he drops it again.  There’s me being a director for you. 🙂

So Saturday was the big day! I’d been training my girls on Hamlet, so that they could actually understand what was going on before seeing the play produced by the local high school (where they’ll be going in a few years, and hopefully performing).

My son has religious education practice, so he couldn’t join us. Which gave my wife this opportunity to a quick cheap shot:

Son: How come the girls don’t have to go?

Wife: The girls are going to see Hamlet.

Son: How come they get to have fun!

Wife: They’re not. They’re going to see Hamlet.

Ouch.  I’ll get you for that.

Anyway, the girls put on their Shakespeare is Universal shirts and we head to the show.

And, as always, I end up disappointed. In my brain I tell myself that I’m about to walk into a whole bunch of people of all ages who want to talk about Shakespeare, and education, and educating people about Shakespeare. I imagine people engaging my kids in conversation when they see their shirts.  I imagine seeing parents whose kids got to read Hamlet last week because of me.

None of this happens. One volunteer says, “I like your shirt” to one of my girls, and that is the entirety of discussion.  This is not a mingly crowd. This is a crowd made up entirely of parents whose kids are on stage.  I don’t know what I expected (well, that’s not true, see above) but I should have known better.

While waiting for the show to start, my girls read the program and begin asking me who “Juggler” and “Lady Nora” are.  I have no frickin idea who those people are, until we decide that they’ve given proper names to all of the Players.  Fine.

My older then notices that the character of Hamlet shows up twice in the list.  I figure that is understudy or something, but it’s not marked that way. We then realize that there are *5* Hamlets listed.  All girls.  Interesting. I assume that this is a case of the director needing to cast everybody who auditioned, or something.

The play begins, and out come … all the Hamlets?  This should be interesting.

They immediately launch into the “too too solid flesh” speech, entirely out of context.  They yell it, in sync with each other.  I guess this is supposed to give us our backstory, because it touches on the death of Hamlet’s father and the o’erhasty marriage of his mother to his uncle.  But honestly, what are you doing? If somebody came to this play actually trying to understand it for the very first time, why would you do that?  Both my girls asked me what was going on, and I just shrugged and said I’d explain later.  My expectations were all messed up now.

After the five Hamlets, then the play begins with the famous “Who’s there?” and the changing of the guard.  At least from that point on, I’m pretty sure they stuck to the script.

The five Hamlets come out at the same time.  Four hang back while one delivers lines.  They often switch. During the big speeches they interchange their lines, speak in sync, and other gimmicky things.  I’m still not sure what this is supposed to be.  I thought maybe it could be some sort of “facets of Hamlet’s personality” thing, but I don’t think that’s what the director was going for – they are all dressed identically, even during costume changes.  There is a certain progression of Hamlet’s insanity as his (her?) wardrobe unravels throughout the play, but that’s the only real development of this device I saw.

Followers on Twitter may have seen my rant about this, but THEY CUT YORICK.  We have a gravedigger’s scene, including all the gravedigger jokes, and at one point the gravedigger starts pulling skulls out of the grave in front of Hamlet and Horatio.  But, no Yorick speech.

I should mention that this performance is part of a “90 minute Shakespeare” festival.  So there’s to be cuts. Sometimes, big ones. I do not envy the director who has to decide what to cut. But I am curious whether any of you cut the Yorick speech.

Other bits that were cut include Hamlet coming across Claudius at prayer and deciding not to kill him. Also, Ophelia only got a single crazy scene (before Laertes returns home).  I think they just folded everything for her into the single scene, but I couldn’t tell you exactly what might have been cut.

What they didn’t cut? Fortinbras. All the Fortinbras scenes (including all the Cornelius and Voltimand scenes) remain.  I thought that an odd choice, if they were aggressively cutting for running time.  Take the ending, for example. Did we end on “The rest is silence”?  Nope.  Hamlet dies.  Then Fortinbras (who the audience has only seen once) enters, and Horatio actually shouts his final lines, stomping up and down the stage, and I’m like, “WTF is he doing?” Fortinbras then gets the final lines, although I should go back and check my text because I did not hear “Bid the soldiers shoot.”

Observations from my kids:

* I pointed out when “To be or not to be” was coming. My oldest held out her hand and said, “No skull?”  So she clearly was still getting the two speeches confused.  I’ve seen lots of people do that.  It doesn’t help that I have a t-shirt that shows the To Be speech drawn out in the shape of Yorick’s skull.

* My younger was mostly lost.  It didn’t help that they could barely hear what was going on, so if they didn’t have a very clear understanding of the characters and plot to follow along, I could see where it would be confusing.

* They both spotted the doubling. The actor playing the ghost showed up in some other role, which they spotted…and I’m pretty sure that dead Polonius played the priest at Ophelia’s funeral, which was really confusing.

* During Ophelia’s singing, my oldest leaned over to me and said, “I am so doing this.”  I asked, “You want to play Ophelia?”  She said, “Well, any role, but Shakespeare definitely.”

* My oldest told me that she saw at least one fellow student from her class, and wondered whether he’d been convinced to come see the play after reading my book.  I expect that the odds were more in favor of his sister being a Hamlet.

I only went to one performance of three, so I have no idea what the crowd was like at the other two. I’ve not yet received any actual feedback from the teachers who were using my text in their classes.  I’d like to think that I helped, but honestly between the way they cut this production and the fact that it was impossible to follow the text when you couldn’t hear it, I don’t know how much I helped.

Oh, it’s on now.

While working on my Hamlet guide for the kids I wanted to make sure I had my capitalization rules correct, so I asked on Twitter.  When speaking of Hamlet, do you capitalize the word “prince”?  I figure there’s multiple ways to say it:

Hamlet, Prince of Denmark
Hamlet, who happens to be Prince of Denmark
Prince Hamlet of Denmark

and so on.

What I got back for the most part said, “If he is the only prince, i.e. he has no siblings, then it is his title and titles are capitalized. So, always Prince.”

Until this morning when a professional copy editor checked in and said, “Nope, titles in general are not capitalized.  Prince Hamlet yes, but Hamlet prince of Denmark is just a description so no.”

Let the bloodshed begin.  Which is it?  Cite your references.

I’m working my way through a Hamlet summary for my daughter (their high school is performing Hamlet next week!) and I want to make sure I understand something.  Here’s the timeline of how Hamlet’s “antic disposition” goes down:

* Hamlet sees ghost.  Hatches plan to “put an antic disposition on.”

* Scene with Polonius where Ophelia runs in to tell her father that “she has been so affrighted” that Hamlet wandered into her room looking all crazy and what not. Polonius decides that he’s mad from love and runs to tell the king and queen.

* Scene with Claudius and Gertrude, who have already summoned Rosencrantz and Guildenstern to snap Hamlet out o this mood he’s been in.

* Polonius enters, announcing that he has discovered the cause of Hamlet’s madness. The queen says well duh it’s obviously his father’s death and our o’erhasty marriage.

* Polonius then reads the love letters that Hamlet has sent Ophelia.

So I’m trying to figure out how much time is going by here.  If we take Ophelia out of the picture we’re led to believe that significant time has passed, for Claudius and Gertrude to decide that something’s wrong with Hamlet and to send for Rosencrantz and Guildenstern, right?  Everybody seems to agree that something’s wrong with Hamlet, and has been for awhile.

If that’s true … then how does the Ophelia story work into it? Why now all of a sudden is she so suddenly affrighted? Doesn’t she know that Hamlet is crazy? And, doesn’t Polonius also know that Hamlet is crazy?

Maybe Polonius has an epiphany here, maybe in whatever months have gone by Hamlet’s had nothing to do with Ophelia (as Polonius desired), but now he suddenly bursts in on her and Polonius says “Aha!  He’s clearly mad because he hasn’t been close to my daughter! I’ve cracked the case!”

But if *that* is true…then where did the love poems come from?  He doesn’t apparently give her anything when he barges into her room.  And if the letters were part of what Ophelia gave over to her father back at the beginning when she was initially asked, those would have been written at a time before Hamlet was supposedly nuts.  So that means that Hamlet’s been writing letters to Ophelia during these intervening months?

Is that it?  Ophelia is no longer speaking to Hamlet. Hamlet is writing letters to Ophelia, which she is not answering, and he’s getting more and more desperate.  Nobody notices the connection. But now he’s so desperate he’s getting physical, and Polonius finally connects the dots.

Do I have that right?