Slings & Arrows

How does one take a play that is several hundred years old and make it new again?  It is a worthwhile question for any director.  One way is to create a television series that revolves around staging Hamlet.  That is the premise behind the first season of Slings & Arrows.  Within that premise, the viewer is taken on a trip to a theatre festival's attempt to stage the play, with all of the requisite complications.

I have no intention of spoiling the plot of the series here.  My hope is that it will be of sufficient interest that readers will find the series for themselves.  Believe me, it is well worth your time.  If you happen to be a fan of Hamlet, then this is absolutely a must-see.

Under the guise of television drama are presented many philosophical observations on theatre in general and Hamlet in particular.  Early in the season we encounter a minister whose description of the theatre arts would be at home in Oliver Cromwell's England.

"Satan hath not a more speedy way nor a fitter school to bring men and women into concupiscence and filthy lust of wicked whoredom than those places of plays and theatre."

We are offered other humorous bits of wisdom.  We learn that a predilection for "After Eight" mints can lead to tooth decay.  We learn that hell may be a bad table reading of a play.  We learn that trying to sell plastics by studying Shakespearean plays may not be the most advisable notion.  We learn that uncaged chameleons also may be hazardous to one's health.

What of a study of Hamlet?  There are serious questions and comments raised.  For instance, how should one stage the play?  There is a traditional interpretation, with period costume.  One director's idea is to take the word "rotten" at face value.  This leads to a "rank and foul looking, foul acted and if possible foul smelling Hamlet," complete with garbage, a rusted shopping cart and broken car hood on stage.  Another interpretation is a minimalist approach--no set, costumes that are anachronistic if used at all and even allowing the text to be altered during rehearsal.  And when possible, use an actual human skull for Yorick.

What of the most famous speech of the play?  How can it be delivered so that the audience will actually hear it?  As Geoffrey Tennant, the director, tells his star, Jack, the actor must decide for himself.  Is Hamlet acting for the benefit of Claudius and Polonius, whom he knows to be eavesdropping, or is the speech sincere?  Jack makes the decision and delivers a memorable performance.

The matter of Hamlet's indecision is discussed as well.  Kate (Ophelia) questions Jack (Hamlet) hours before the curtain rises on opening night:  "So you're afraid to do it but you know you have to and if you don't you won't be able to live with yourself?"  It is a beautifully pithy summary of Hamlet's (and Jack's) problem, one that he is advised to use on stage.

Although the first season of Slings & Arrows is only six episodes long, it took no time at all to grow to like the characters.  In fact, like a well-staged version of Hamlet, reaching the end left me wishing that there were more to come.  Fortunately, there are two more seasons available, even if the festival moves on to other Shakespearean works.  It appears that my "to-do" list just got a bit longer.