In this production the actors decided that they preferred the rule of Claudius, a peace-keeping King who enjoyed a good party! This is important in the staging as it is when we, the audience, and the Court first see Claudius as King. The staging of this opening court scene is instrumental in revealing the relationships between the characters in Hamlet. When developing the world of the play the designer, Rob Jones, was inspired by photographs of contemporary European Royal Families in Hello Magazine. Have a look at this website and find pictures of contemporary royal families. Look at how the pictures have been taken and what they portray about the family. What are the most important qualities that these people have?

The above clip is for use in an activity found in the Hamlet Teachers’ Guide. [download the full PDF of the guide]

Every actor should understand exactly what they are saying in order to make the most of their role. For the first two to three weeks of the rehearsal process Gregory Doran gave the actors three key rules when they were reading the play: 1) That they don’t read their own part 2) That they can’t comment on their own part 3) That they can only use information that they already know and can’t see ahead in the play. These rules enable the actors to hear their part and discover new things from the rest of the cast. Each scene of the play was done twice; first, Greg asked the actors to read the Shakespearean text aloud, and then they discuss the meaning of the words and any misunderstandings, after this the actors paraphrased the scene in their own words to see if they discovered anything new.

Edward Bennett (Laertes), and Mariah Gale (Ophelia) worked from this basis and made further decisions about the relationships between the characters. They decided that the words of advice Polonius gives are so familiar that the children know what’s coming. Watch the scene and compare it to how you felt about the characters.

The above clip is for use in an activity found in the Hamlet Teachers’ Guide. [download the full PDF of the guide]

Hamlet’s Attempt to Kill Claudius -

Greg Doran decided to repeat the image of Priam hesitating with his sword in the air, as shown by the player, when Hamlet takes the dagger to Claudius.

Watch The Player’s speech immediately followed by Hamlet’s attempt to kill Claudius. What are the similarities? How important is it to look at these two speeches together?

The above clips are for use in an activity found in the Hamlet Teachers’ Guide. [download the full PDF of the guide]

In Greg Doran’s rehearsals, the actors decided that Osric is a ‘political flunkie’ – an ambitious young employee of the court, hoping to impress Claudius. They used clothes to convey this – the production is in modern dress so the designer used clothes that a modern audience quickly understands as conveying ambition and business: a sharp suit, slick haircut and shiny shoes! Does Osric know he is inviting Hamlet to his death? Greg’s company decided that Osric did know that he was asking Hamlet to come to his death. He uses charm and a big winning smile to manipulate Hamlet. Later in the production, Osric makes sure he gives the correct sword to Laertes, giving the audience another clue that he is definitely aware of the plan. Ryan Gage’s character is incredibly detailed – at the very end of the production, Osric silently shakes hands with Fortinbras because he has spotted that, now Claudius is dead, Fortinbras is his new boss.

Watch Osric’s scene. Does the audience see the fine detail mentioned above? Do they think it’s important for the actor to have this detail in creating their character?

The above clip is for use in an activity found in the Hamlet Teachers’ Guide. [download the full PDF of the guide]

The final scene. How did the choices the actors made differ from the choices of the group? What movements were the most effective and why? What was more significant gesture or looks? You might want to watch it again with the sound off to specifically look at how the actors tell the story with their bodies and their faces.

The above clip is for use in an activity found in the Hamlet Teachers’ Guide. [download the full PDF of the guide]

Download the full PDF of the guide here.

All the media referenced in the guide is posted here on the Great Performances Web site and can be accessed through the menu above.

Albany attempts to restore some order to the kingdom, with power restored to Lear and suitable honors to Kent and Edgar, but Lear pays no attention. “And my poor fool is hanged. . . O thou’lt come no more. Never, never, never, never, never.” He asks to have his shirt unbuttoned and comes close to Cordelia one last time, “do you see this? look on her: look, her lips, look there, look there.” He expires of grief.

Albany once more attempts repair, suggesting that Edgar and Kent “rule in this realm and the gored state sustain.” Kent declines: “I have a journey, sir, shortly to go; My master calls me, I must not say no.” Edgar concludes the play with this choral quatrain:

The weight of this sad time we must obey,
Speak what we feel, not what we ought to say.
The oldest hath borne most; we that are young
Shall never see so much, nor live so long.

Act V Scene 3c . . . Editing

ACT V. SCENE III. SEGMENT D.

Enter Lear with Cordelia in his arms.

KING LEAR
Howl, howl, howl, howl! O, you are men of stones.    [295]
Had I your tongues and eyes, I’d use them so
That heaven’s vault should crack. She’s gone for ever.
I know when one is dead, and when one lives.
She’s dead as earth. Lend me a looking glass.
If that her breath will mist or stain the stone,    [300]
Why then she lives.

KENT                          Is this the promised end?

EDGAR   Or image of that horror?

ALBANY                                         Fall, and cease!

KING LEAR
This feather stirs. She lives. If it be so,    [305]
It is a chance which does redeem all sorrows
That ever I have felt.

KENT                          O my good master!

KING LEAR    Prithee, away.

EDGAR                                ‘Tis noble Kent, your friend.    [310]

KING LEAR
A plague upon you, murderers, traitors all.
I might have saved her. Now she’s gone for ever.
Cordelia, Cordelia. Stay a little. Ha?
What is’t thou say’st? Her voice was ever soft,
Gentle and low, an excellent thing in woman.     [315]
I killed the slave that was a-hanging thee

Captain   ‘Tis true, my lords, he did.

KING LEAR                                      Did I not, fellow?
I have seen the day, with my good biting falchion
I would have made them skip. I am old now,    [320]
And these same crosses spoil me. Who are you?
Mine eyes are not o’th’ best, I’ll tell you straight.

KENT
If fortune brag of two she loved and hated,
One of them we behold.

KING LEAR   This is a dull sight. Are you not Kent?    [325]

KENT                                         The same,
Your servant Kent. Where is your servant Caius?

KING LEAR
He’s a good fellow, I can tell you that.
He’ll strike, and quickly too. He’s dead and rotten.

KENT  No, my good lord, I am the very man—    [330]

KING LEAR   I’ll see that straight.

KENT
That from your first of difference and decay
Have followed your sad steps.

KING LEAR    You are welcome hither.

KENT
Nor no man else. All’s cheerless, dark, and deadly.    [335]
Your eldest daughters have fordone themselves,
And desperately are dead.

KING LEAR                       Ay, so I think.

ALBANY
He knows not what he says, and vain it is
That we present us to him.    [340]

EDGAR                               Very bootless

Enter a Messenger.

Messenger   Edmund is dead, my lord.

ALBANY
That’s but a trifle here.
You lords and noble friends, know our intent.
What comfort to this great decay may come    [345]
Shall be applied. For us we will resign
During the life of this old majesty
To him our absolute power. [to Edgar and Kent] You, to your rights,
With boot and such addition as your honors
Have more than merited. All friends shall taste    [350]
The wages of their virtue, and all foes
The cup of their deservings. O, see, see!

KING LEAR
And my poor fool is hanged. No, no, no life.
Why should a dog, a horse, a rat have life,
And thou no breath at all? Thou’lt come no more.    [355]
Never, never, never, never, never.
Pray you, undo this button. Thank you, sir.
Do you see this? Look on her, look, her lips,
Look there, look there.    He dies.

EDGAR   He faints! My lord, my lord!    [360]

KENT   Break, heart, I prithee, break!

EDGAR                                         Look up, my lord.

KENT
Vex not his ghost. O, let him pass! He hates him much
That would upon the rack of this tough world
Stretch him out longer.    [365]

EDGAR    He is gone, indeed.

KENT
The wonder is he hath endured so long.
He but usurped his life.

ALBANY
Bear them from hence. Our present business
Is general woe. Friends of my soul, you twain    [370]
Rule in this realm, and the gored state sustain.

KENT
I have a journey, sir, shortly to go;
My master calls me, I must not say no.

EDGAR
The weight of this sad time we must obey,
Speak what we feel, not what we ought to say.    [375]
The oldest hath borne most; we that are young
Shall never see so much, nor live so long.

Edmund hurls them back, “this sword of mine shall give them instant way.” They then fight, and Edmund falls. Albany calls to save him, so he may have his own charge. The letter comes out. Goneril claims immunity as queen: “the laws are mine, not thine.”

She leaves, followed by an officer on Albany’s orders. Edmund now admits all he has done, but asks for Edgar’s identity. Edgar forthwith provides it. “My name is Edgar and thy father’s son. The gods are just, and of our pleasant vices make instruments to plague us.” Albany elicits a history from Edgar, a speech which moves Edmund to do some good. They are interrupted by the officer rushing on stage to announce the deaths of Regan and Goneril — Goneril having poisoned Regan and then taken her own life.

Albany orders the bodies brought forth, but as they are being carried in he remembers Lear and Cordelia: “great thing of us forgot.” Edmund now confesses his order to hang Cordelia, blaming the decision on despair. He is carried off, leaving the stage free for the final scene with Lear and his three daughters.

Act V Scene 3b . . . Act V Scene 3d

ACT V. SCENE III. SEGMENT C.

Enter Edgar armed.

ALBANY
Ask him his purposes, why he appears
Upon this call o’the trumpet.

Herald                               What are you?
Your name, your quality, and why you answer
This present summons?    [135]

EDGAR                            Know my name is lost,
By treason’s tooth bare-gnawn and canker-bit.
Yet am I noble as the adversary
I come to cope.

ALBANY              Which is that adversary?    [140]

EDGAR   What’s he that speaks for Edmund, Earl of Gloucester?

EDMUND   Himself. What sayst thou to him?

EDGAR                                       Draw thy sword,
That if my speech offend a noble heart,
Thy arm may do thee justice. Here is mine.     [145]
Behold, it is the privilege of mine honors,
My oath, and my profession. I protest,
Maugre thy strength, youth, place, and eminence,
Despite thy victor sword and fire-new fortune,
Thy valor and thy heart, thou art a traitor—    [150]
False to thy gods, thy brother, and thy father;
Conspirant ‘gainst this high-illustrious prince;
And from th’extremest upward of thy head
To the descent and dust below thy foot,
A most toad-spotted traitor. Say thou no,    [155]
This sword, this arm, and my best spirits are bent
To prove upon thy heart, whereto I speak,
Thou liest.

EDMUND        In wisdom I should ask thy name.
But, since thy outside looks so fair and warlike,    [160]
And that thy tongue some say of breeding breathes,
What safe and nicely I might well delay
By rule of knighthood, I disdain and spurn.
Back do I toss these treasons to thy head,
With the hell-hated lie o’erwhelm thy heart,    [165]
Which, for they yet glance by and scarcely bruise,
This sword of mine shall give them instant way,
Where they shall rest for ever. Trumpets, speak.

Alarums. Fights. [Edmund falls.]

ALBANY   Save him, save him!

GONERIL                                 This is practice, Gloucester.    [170]
By th’ law of arms thou wast not bound to answer
An unknown opposite. Thou art not vanquished,
But cozened and beguiled.

ALBANY                        Shut your mouth, dame,
Or with this paper shall I stop it. Hold, sir.    [175]
Thou worse than any name, read thine own evil.
No tearing, lady; I perceive you know it.

GONERIL
Say if I do; the laws are mine, not thine.
Who can arraign me for’t.

ALBANY                  Most monstrous! oh!     [180]
Know’st thou this paper?

GONERIL                Ask me not what I know.

Exit

ALBANY [To officer] Go after her. She’s desperate. Govern her.

EDMUND
What you have charged me with, that have I done,
And more, much more. The time will bring it out.    [185]
‘Tis past, and so am I. But what art thou
That hast this fortune on me? If thou’rt noble,
I do forgive thee.

EDGAR                 Let’s exchange charity.
I am no less in blood than thou art, Edmund;    [190]
If more, the more thou hast wronged me.
My name is Edgar, and thy father’s son.
The gods are just, and of our pleasant vices
Make instruments to plague us.
The dark and vicious place where thee he got    [195]
Cost him his eyes.

EDMUND               Thou hast spoken right; ’tis true.
The wheel is come full circle; I am here.

ALBANY
Methought thy very gait did prophesy
A royal nobleness. I must embrace thee.    [200]
Let sorrow split my heart if ever I
Did hate thee or thy father.

EDGAR                         Worthy prince, I know’t.

ALBANY
Where have you hid yourself?
How have you known the miseries of your father?     [205]

EDGAR
By nursing them, my lord. List a brief tale,
And when ’tis told, O, that my heart would burst!
The bloody proclamation to escape
That followed me so near—O, our lives’ sweetness,
That we the pain of death would hourly die     [210]
Rather than die at once!—taught me to shift
Into a madman’s rags, t’assume a semblance
That very dogs disdained; and in this habit
Met I my father with his bleeding rings,
Their precious stones new lost; became his guide,     [215]
Led him, begged for him, saved him from despair,
Never—O fault!—revealed myself unto him,
Until some half-hour past, when I was armed.
Not sure, though hoping, of this good success,
I asked his blessing, and from first to last     [220]
Told him my pilgrimage. But his flawed heart,
Alack, too weak the conflict to support
‘Twixt two extremes of passion, joy and grief,
Burst smilingly.

EDMUND
This speech of yours hath moved me,    [225]
And shall perchance do good. But speak you on;
You look as you had something more to say.

ALBANY
If there be more, more woeful, hold it in,
For I am almost ready to dissolve,
Hearing of this.    [230]

[EDGAR               This would have seemed a period
To such as love not sorrow, but another
To amplify too much would make much more,
And top extremity.
Whilst I was big in clamor came there in a man,     [235]
Who, having seen me in my worst estate,
Shunned my abhorred society, but then finding
Who ’twas that so endured, with his strong arms
He fastened on my neck and bellowed out
As he’d burst heaven, threw him on my father,    [240]
Told the most piteous tale of Lear and him
That ever ear received, which in recounting
His grief grew puissant and the strings of life
Began to crack. Twice then the trumpets sounded,
And there I left him tranced.    [245]

ALBANY                                But who was this?

EDGAR
Kent, sir, the banished Kent, who in disguise
Followed his enemy King and did him service
Improper for a slave.]

Enter a Gentleman, with a bloody knife

Gentleman                Help, help, O, help!    [250]

EDGAR   What kind of help?

<ALBANY                            Speak, man.

EDGAR   What means that bloody knife?

Gentleman                                     ‘Tis hot, it smokes.
It came even from the heart of—O, she’s dead!     [255]

ALBANY   Who dead? Speak, man.

Gentleman
Your lady, sir, your lady, and her sister
By her is poisoned. She confesses it.

EDMUND
I was contracted to them both. All three
Now marry in an instant.     [260]

EDGAR                           Here comes Kent.

ALBANY
Produce their bodies, be they alive or dead.
This judgment of the heavens that makes us tremble
Touches us not with pity.

[Exit Gentleman.] Enter Kent

O, is this he?    [265]
The time will not allow the compliment
Which very manners urges.

KENT                               I am come
To bid my King and master aye good night.
Is he not here?     [270]

ALBANY           Great thing of us forgot!
Speak, Edmund, where’s the King? And where’s Cordelia?
See’st thou this object, Kent?

[The bodies of Goneril and Regan are brought in]

KENT                               Alack, why thus?

EDMUND
Yet Edmund was beloved.    [275]
The one the other poisoned for my sake,
And after slew herself.

ALBANY Even so, cover their faces.

EDMUND
I pant for life. Some good I mean to do,
Despite of mine own nature. Quickly send—    [280]
Be brief in it—to the castle, for my writ
Is on the life of Lear and on Cordelia.
Nay, send in time.

ALBANY                 Run, run, O, run.

EDGAR
To who, my lord? Who hath the office?  Send    [285]
Thy token of reprieve.

EDMUND
Well thought on. Take my sword.
The captain, give it the captain.

ALBANY   Haste thee, for thy life.

EDMUND
He hath commission from thy wife and me    [290]
To hang Cordelia in the prison, and
To lay the blame upon her own despair,
That she fordid herself.

ALBANY   The gods defend her. Bear him hence awhile.

[Edmund borne off]