He pointedly called it The Tragedy of Hamlet. Peter wanted to strip away what he thought was unnecessary – he took away the political drama of Hamlet and wanted to concentrate on the domestic: mother, brother, father, son, uncle, friend.
It also gives you a stepping stone into the next time you see Ophelia when she is distraught and giving out the flowers: she knows that the person she loves has killed her father. You see Hamlet understand what he has done. Peter moved it to the point where Hamlet has killed Polonius and removed the body and, in our version, he then encountered Ophelia on stage and she takes the widest berth around him. This was the speech of a person caught in a predicament that was twisting his mind and soul so much that he was wondering whether it was worth living. We’d pull apart the speeches and it became clear, for me, that “ to be or not to be” was in the wrong place. We went through Hamlet’s soliloquies chronologically and he would sit very close to me, both of us on the floor – even the tension of standing up was removed. When we first worked together on Hamlet it was just me and him in a rehearsal space for a week. It just felt like you were completely free on stage. In doing a play with him, you really didn’t know where his work finished and your work started. You were always left digging into deeper parts of yourself.
He didn’t care so much how it sounds or how you moved, he was interested in what you meant.
#A universal time cursed orb how to
Others will tell you how to say what you’re saying.
That is the most basic kind of approach, like directing traffic. Some directors will tell you what to do: stand here, walk over there, sit down.
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