Jude Law as Hamlet–Reviews

Click on these links for some reviews of Jude Law as Hamlet:

Daily Telegraph

Independent

Times

Guardian

Observer

And check out The Shakespeare Diaries

Hamlet Act 1.1.19-52

After two or three brief exchanges that reinforce Horatio’s presence (his name is repeated three times–always a good idea to help reinforce information for the audience), the action moves on to more important matters. However, Shakespeare begins “vaguely” by having Horatio refer to “this thing.” Something undefined works more on the imagination than does something spelled out explicitly?? This idea is reinforced by Marcellus’s remark that “Horatio says ’tis but our fantasy.” Quickly the implied suggestion is that Horatio is more rational and grounded, yet “fantasy” has wider implications. The “thing’s” image is built up by “dreaded sight” and “apparition.” (Incidentally, Marcellus’s evidence is strong since he reports having seen the thing “twice.” Also implied is the notion that the Ghost is wandering, in search of something, not settled, and even religious notions). Note Horatio’s dismissive “’twill not appear,” a sure sign, of course, that it will! and lo and behold just as Bernardo is about to recount their previous encounters the Ghost makes its entrance (we should remember yet again that all this is stage in daylight in Shakespeare’s day, and so this verbal atmosphere building is very important). Of importantance is the nature of the Ghost’s actual appearance, namely that he is “In the same figure like the king that’s dead” (the point, like others, is repeated to make sure we get the point). Notably Horatio is the one to actually speak to it:

What art thou that usurp’st this time of night
Together with that fair and warlike form
In which the majesty of buried Denmark
Did sometimes march?

Note the points stressed here: usurp, night, fair/warlike, buried Denmark (incidentally an example of metonymy for those that like to identify such matter). All these things are troublesome, indications of disorder, and suggestive of themes that will be taken up as the play progresses. And yet, having made the suggestion, having provoked the audience’s attention and curiosity, Shakespeare has the Ghost leave–for the obvious reason that this is a basic dramatic technique. Raising questions in the audience’s mind that it wants answered (and that the play will eventually do so). As one might say, we haven’t seen the last of that Ghost since there are numerous questions to be answered

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© 2008

Hamlet Act 1.1.1-18

It’s worth considering the circumstances under which Hamlet would have been performed. The full text as we have it might very well have not been performed. Even given the Elizabethan emphasis on the spoken (and less on the visual) with probably a higher rate of words delivered, the complete play would have still been very long (nowadays a complete version would take three-and-a-half to four hours). So probably (though not absolutely certainly) the text would have been modified for any given performance (as is again the case with many modern productions). Remember too that the initial performances would also have been given outdoors, about which the opening of the play becomes quite revealing. The scene is the battlements of Elsinore and it’s nighttime; however, the audience (and cast) are fully aware that they are seeing the performance in broad daylight. To reinforce the notion of darkness, Bernardo’s and Francisco’s lines tell us that they can’t see each other–therefore, it must be dark!! This idea is swiftly reinforced by Francisco demanding that Bernardo must “unfold yourself” and by Bernardo telling us the clock has just struck twelve. And, of course, we the audience believe all this, or rather enter into the theatrical conspiracy that this is so. Another interesting point about the opening exchange is the fact that the military roles are reversed. Bernardo is given “Who’s there?” but Francisco’s retort–“Nay, answer me”–makes it clear that he is the one who is on guard duty and thus entitled to challenge Bernardo. Are we to make much of this? In the theatre it might well slip by an audience that is still settling down. However, in retrospect it is easy to see that this situation is a microcosm of at least one aspect of the play as a whole–that the normal order of things has been reversed or inverted, a sign of discord and disorder (never a good thing in the English Elizabethan mind).  Obviously the “darkness” and even the “bitter cold”serve to emphasize this aspect. This sub-scene ends with the arrival of Horatio and Marcellus, and, since Bernardo has relieved Francisco, Francisco’s exit. Perhaps it is also worth noting the short, conversational speeches all these characters employ–they have directness and serve to establish quickly the relationships–“friends to this ground.”

Check out The Shakespeare Diaries.
© 2008

David Tennant as Hamlet (reviews)

David Tennant steps out of the Tardis and away from Dr Who as he generally wows the critics as Hamlet. See the reviews in the leading London newspapers:

The Independent

The Times

Daily Telegraph

The Guardian

Check out The Shakespeare Diaries