Hamlet
Last week - which now feels like a million years ago - I saw Hamlet by the Bell Shakespeare Company at the Sydney Opera House. (Now all public performances there are cancelled, due to the COVID-19 situation, until at least the end of the month.)
I know Hamlet is supposed to be the pinnacle of Shakespeare, but I've never felt particularly compelled by it. Maybe because of impatience with his indecision. Maybe because my earliest exposure was the Mel Gibson movie.
Turns out, what gets me excited about seeing Hamlet, is casting a woman as Hamlet.
The director, Peter Evans, says in the program:
Shakespeare is interested in masculinity and how too often when under pressure, or perceived pressure, men can lash out. Often against women. Working with Harriet on the character of Hamlet is fascinating in this regard. Her point of view makes our exploration of the more troubling aspects of Hamlet's behaviour more acute and specific. I feel our understanding of Hamlet is richer from having a her, play him.
The 1960s setting reflects a fascinating aspect of the play; its innate nostalgia. The character of Hamlet longs for the past. He has an idealised vision of his father, and his parents' marriage and former love for each other.
I don't know that the genderswapped casting added extra resonance to the play for me. But Harriet Gordon-Anderson did an awesome job in the role, and I love that a woman gets to play this part. What I found interesting about this production was, I never felt that Hamlet was indecisive. His tragedy was being consumed by revenge. From the moment he learned the truth from the ghost, he turned his whole being to one purpose: an obsession that destroyed everyone around him and then himself.
Other notes:
* Some familiar faces! Claudius was played by James Lugton, previously Brutus in Julius Caesar. Gertrude was played by Lisa McCune, from Blue Heelers!
* It was cool to see diverse casting! Ophelia was played by Sophie Wilde, who is Ivorian-Australian.
* It was cool to see genderswapped casting! Guildenstern was played by Jane Mahady and Osric was played by Aasnisa Vylet. They also doubled for other secondary characters.
* One of the highlights was Polonius, played by Robert Menzies, who had great comic timing.
* The set design: the framework of a house, with chairs and carpet, while the backdrop was fir trees in a snowy landscape. Occasionally, flickering video footage of Hamlet's childhood played on the wall.
* The costuming: stylish 1960s fashion. (Except for Claudius who was, for some reason, rocking the casual look in a jumper.)
I've now seen genderswapped casting for Cassius, Richard III, Mark Antony, and Hamlet. It's pretty cool that women are getting the chance to bring these characters to life and speak their classic lines.
Crossposted from Dreamwidth, where there are
comments. Comment here or there.
I know Hamlet is supposed to be the pinnacle of Shakespeare, but I've never felt particularly compelled by it. Maybe because of impatience with his indecision. Maybe because my earliest exposure was the Mel Gibson movie.
Turns out, what gets me excited about seeing Hamlet, is casting a woman as Hamlet.
The director, Peter Evans, says in the program:
Shakespeare is interested in masculinity and how too often when under pressure, or perceived pressure, men can lash out. Often against women. Working with Harriet on the character of Hamlet is fascinating in this regard. Her point of view makes our exploration of the more troubling aspects of Hamlet's behaviour more acute and specific. I feel our understanding of Hamlet is richer from having a her, play him.
The 1960s setting reflects a fascinating aspect of the play; its innate nostalgia. The character of Hamlet longs for the past. He has an idealised vision of his father, and his parents' marriage and former love for each other.
I don't know that the genderswapped casting added extra resonance to the play for me. But Harriet Gordon-Anderson did an awesome job in the role, and I love that a woman gets to play this part. What I found interesting about this production was, I never felt that Hamlet was indecisive. His tragedy was being consumed by revenge. From the moment he learned the truth from the ghost, he turned his whole being to one purpose: an obsession that destroyed everyone around him and then himself.
Other notes:
* Some familiar faces! Claudius was played by James Lugton, previously Brutus in Julius Caesar. Gertrude was played by Lisa McCune, from Blue Heelers!
* It was cool to see diverse casting! Ophelia was played by Sophie Wilde, who is Ivorian-Australian.
* It was cool to see genderswapped casting! Guildenstern was played by Jane Mahady and Osric was played by Aasnisa Vylet. They also doubled for other secondary characters.
* One of the highlights was Polonius, played by Robert Menzies, who had great comic timing.
* The set design: the framework of a house, with chairs and carpet, while the backdrop was fir trees in a snowy landscape. Occasionally, flickering video footage of Hamlet's childhood played on the wall.
* The costuming: stylish 1960s fashion. (Except for Claudius who was, for some reason, rocking the casual look in a jumper.)
I've now seen genderswapped casting for Cassius, Richard III, Mark Antony, and Hamlet. It's pretty cool that women are getting the chance to bring these characters to life and speak their classic lines.
Crossposted from Dreamwidth, where there are
comments. Comment here or there.