Dear friends and readers,
Jim and went out last night to see the London Globe company act Hamlet at our Folger Shakespeare Library. Like last time (8 summers ago now, in the Globe Theater itself in London where we were groundlings), the company’s way of doing the plays left me cold. They again enacted actors acting the parts. For me the result is too stylized.
The dress this time reminded me of the way people costume the rude mechanicals in Midsummer’s Night’s Dream and before the play started two actors, one playing Polonius (Christopher Saul) and one Claudius (Dickon Tyrell, a superbly effective presence even in stylized patterns), mingled with the audience. They were people like us you see, their costumes not so different from ours. The era imitated was 1940s mostly, with Miranda Foster having her hair in a snood, buns on top of her head, seamed stockings, 1940s pump shows. One problem was, why 1940s? This choice of era was not addressed. Like the Shenandoah play, the company do it in the light. Minimal props. I loved all this in a way. And I can’t really complain that they depend wholly on the lines spoken beautifully in a talk way. That means you’ve got to listen — and you appreciate the words both how they still speak to us and how they are Elizabethan in feel, outlook, nuance. But during the intermission I heard people talking about how hard it was for them to keep up, to follow. Those who had read the play rejoiced. I’ve read it many times so I could follow. I loved the folk dancing before and aft. They do get across the comic moments of Shakespeare’s even most pessimistic of plays.
A couple of the younger actors were weak. There were but 8 of them, lots of thoughtful doubling. Tom Lawrence most notably as Horatio stood out as somehow embodying a quintessential English Renaissance player look. The actors playing Rosencrantz and Guildenstern came in with sheepish comic looks, carrying suitcases, tennis rackets, vacation stuff. The whole feel alluded to Stoppard’s play — so the aesthetic control could be broken to allude to another art world.
But finally I prefer modern psychological enactment because I was not moved until near the end. The acting keeps me at a distance: the pace is too quick, and the gestures somehow slightly frozen, graceful in frenetism would be the way I’d characterize the Hamlet-Gertrude hard encounter. The American Shakespeare Company players (formerly Shenandoah express) do their plays using modern psychological mimesis with direct connections to our lives and norms today. I also much preferred the more abridged Hamlet we saw this summer: this Globe version was shortened too, lines sweated, here and there a speech omitted).
Go see it as an attempt to bridge the past into the present.
For a list of the company, director and notes, see Globe on Tour with Hamlet (they come to the Folger).