The appetizer to the production of Hamlet at this year's Stratford Festival was a forum entitled, Being Hamlet. Hosted by Paul Kennedy, it featured a panel discussion of three actors who have played Hamlet at Stratford. Present were Brent Carver (1986), Ben Carlson (2008) and Jonathan Goad (2015). The forum was moved to the comfortable surroundings of the Tom Patterson Theatre to accommodate the large crowd. While their answers to questions were insightful and interesting, it was a treat to watch the three interact with each other and trade occasional barbs.
Each of the four panel members described his first experience with Hamlet. For Kennedy, it was when he was nine years old. He described reading the text in his bedroom, a very personal experience for him. Carver met the play during his university years at Summer Stock in Vancouver. He was playing in a non-Shakespearean version of the play and so studied the "real" one. He commented that when performing it you realize that you think you know the play, but you don't. Goad discovered the play in the form of a comic book treatment when he was in grade 7. The first time he saw it on stage was in 2000 in Stratford, when Paul Gross played the lead. Carlson's first experience with Hamlet also was in Stratford; he saw Carver's 1986 performance. As he told him playfully, "It's all your fault!"
The next topic for the actors was how they prepared for such a demanding role. Goad commented that besides extensive rehearsals at Stratford, one's entire acting career is preparation for being Hamlet. Carver's preparation was different. In 1975, he had been part of a rock opera version of Hamlet. (This Hamlet fan was intrigued, in the way one is intrigued by auto accidents.) In 1984, he played Hamlet at the Grand Theatre, which prepared him for the 1986 Stratford production. Carlson's preparation was different still--he took up running, roughly 14K. Also, he read Shakespeare's entire canon in order to understand the playwright.
Hamlet is described as the quintessence of theatre and the "center of Western thought" and as such has become to an extent a cliche. The actors discussed that aspect of the experience. According to Carlson, because it is a cliche the actor must invent the role for himself and make it his own. It's such a great role that an actor undertaking the role "can't totally fail." Goad commented that in Hamlet we see more of William Shakespeare than in any other play in the canon. Yet, as Carlson added, he's still a huge mystery. Goad stated that we see ourselves in Hamlet; "Hamlet is us and we are Hamlet."
The discussion turned to an interesting question. What is it like to watch the play from the audience after having been Hamlet? To Carlson, it was a "great relief!" He has discovered, though, that he watches the play now and notices what has been cut, what has been added. (I know the feeling.) Of the performances Goad has seen, he commented that he's never met a Hamlet that he didn't like. Carver referred to the phenomenon of Shakespeare's plays traveling in packs. It seems that when one Hamlet appears, there are several other companies performing it also. (If the past year is any indication, that has been the case around these parts.)
Goad took the next question, regarding using other productions of Hamlet in one's own performance. He stated directly that if there is a good idea, you steal it. Direct imitation is not possible, though. The role is a personal experience. He looks at it as throwing off the historical shackles, not reinventing it. One must challenge the notions of history in performing it anew.
What about physical challenges of being Hamlet? How does the actor catch his breath? Carlson commented that the interval in his production occurred after the "How all occasions" soliloquy, so there was a very long break for him when Hamlet was in England. As Goad put it, Claudius was the tour guide for the next several scenes. Carver added that even a break is not really a break, though. The actor can't really rest. Soon he'll be back on stage and must be active and engaged.
Next was a tough one for the actors: What is your favorite soliloquy? Carlson is partial to Claudius' soliloquy ("O, my offense is rank..."); that's the one he's never had to speak on stage. In it, we see Claudius' humanity. Goad understandably ducked the question at first, declaring that each is special and inseparable from the whole. He gave special mention of the "rogue and peasant slave" soliloquy, though, as being extraordinary both in content and length. He described "To be or not to be..." as the heart of the play. Carver remarked that he was surprised when that speech came up in his play. It was always "Oh, here it comes!" Carver gave high marks to Hamlet's "divinity that shapes our ends" speech. Goad and Carlson agreed that they are struck by the tiny moments and by the rapidity and wit of Shakespeare's prose.
The actors were asked to describe epiphany moments. Carver led off, stating that it is amazing to be able to play Hamlet. He called it daunting, a privilege and a responsibility. Goad remarked that he never feels up to the role, and he's always grateful for the opportunity to reveal himself through the part. When asked if he would play it again, he hedged and then admitted that he probably would not.
Carlson's epiphany moment was a severe anxiety attack he had in Chicago on his first day in the role. William Shakespeare taps into horrific themes--murder, violence, possible incest--and they got to him. He called a friend who had Hamlet experience to ask if this was normal. The response was that it was a shared phenomenon and a sign that "you're alive and thinking." Carlson went on to describe an onstage interaction with a spider that became the object of his artistic anger. (The arachnid fared better than Claudius.)
The heavy nature of the play was a continued topic. Goad called every day a revelation. The actor must avail himself to the circumstances of the day. The play is consumed with death and self-revelation. It examines disillusionment and one's place in the world. Ophelia's drowning and 20,000 Polish soldiers marching to their death are the final straws. Carver added that the play causes something in one's DNA to be shifted, and he's not sure what it is. The actor plans something on stage and things go awry. The best he can do is to be in the present.
The players were asked how being Hamlet has changed them. According to Carver, it made him question what he was doing and why. In fact, he began to probe whether he could act. Carlson recounted that after Hamlet everything is more interesting. It opens the mind to the possibility. He finds that everything has more color. Goad's response: "I can't wait until it's over." The play has caused him to put a heavy burden on himself.
There was time for some questions from the audience. On the subject of universal themes in the play, Carver remarked that "It's William Shakespeare!" The story is universal, as is the mystery. Goad added that different countries have responded differently to the play due to their political stances.
The actors were asked what influence their directors have had on them. Carlson described how his first director was an authority on the text of the play. They disagreed over the relationship between Hamlet and Gertrude. The director thought there was an Oedipal issue, and Carlson thought that was rubbish. He found the relationship between Hamlet and his father to be much more formative and interesting. They talked and were able to reach a compromise. Carver said his director had the biggest influence on him in the areas of structure and pacing of character. They had disagreements on where the energy level lies. Goad, in the midst of a run with director Antoni Cimolino, remarked that the two have similar approaches. Over twenty hours of discussion and conversation, they distilled the play in a certain way. Their focus is not to be fussy, not to go for easy answers. Goad was even encouraged in his character's outrageous behavior.
"Has being Hamlet made you paranoid?" Carlson answered that question with a resounding YES! Carver added that the role forces one to question everything. It's required, and one's expectations must be shed. He commented that he thinks Hamlet would have made a great king. Goad's answer was that he doesn't think he's paranoid. (Carlson: "What does everyone else think?") The actor must access sensitive parts of himself. Hamlet saw himself as a leader and knew his capabilities.
Perhaps the most fitting summary was delivered as the forum was drawing to a close. Everyone has an opinion on Hamlet. One never forgets his first Hamlet...or his second. Agreed.
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