Opinion: On The Training Ground and Hamlet

The Folly in Youth
by Nanette Soucy
@NetSoucy

Montreal is home to at least half a dozen theatre programs. Consequently, its relatively small Anglo theatre scene is inundated with recent grads in search of challenging work to build up their résumés and hopefully pay the rent. With an arguably educational mandate, several local companies have elected to meet this demand for work by choosing to work almost exclusively with erstwhile students, offering them opportunities to perform roles they wouldn’t otherwise have been cast in.

I must confess, I am past the point in my career when I could reasonably refer to myself as a “recent graduate” of my Alma matter. But I am only so far along that the bulk of my working experience is with companies that value employing emerging artists as a matter of mission and method. As young artists, we are all grateful for the existence of these companies to a point. Yes, we can say we held a major role in a classic piece of theatre, that we might not have otherwise been cast in for lack of experience, or because we simply weren’t right for it. Yes, we can say we’ve gotten paid work, but at what cost? Let’s be frank. Companies who choose to employ recent grads, however altruistic their intentions, do so in large part because they are willing to work for cheap, and are invigorated by youth to work hard.

First-Person: Chris Moore on playing Hamlet

The Real Question: Why Not?

Facing one of the biggest challenges in theatre literature

by Chris Moore

A couple of years ago Persephone Productions presented Shakespeare’s “Henry V”. One year before that Artistic Director, Gabrielle Soskin asked me if I would be interested in co-directing with her. I agreed, but remarked "that means I couldn’t really audition for Henry" and she said "no. I think that would probably be a lot on your plate." I agreed and said, "Well alright then I guess you can make it up to me by casting me as Hamlet." She chuckled and we left it at that. A little time later we went back to the joke and she asked, "Why not?" and I agreed. 

The first time I ever saw Hamlet was Kenneth Branagh’s full version when I was in high school. I didn’t understand a lot of it, but I remember loving it. I can even remember thinking I wanted to wear the tuxedo that Branagh wore for my prom. Since then, my exposure to the play hasn’t been very high. I saw “Hamlet Solo” when it came to Montreal and last year I watched a version with David Tennant. This is a testament to how much of the play has seeped into our culture. Without seeing full productions as often as one might think, one is already thoroughly familiar with it. Many of Shakespeare’s characters have remained iconic and perhaps none more so than Hamlet. It would be silly for any actor playing Hamlet to think "well it’s best not to think about it, just ignore it and go on with your work". There are certain realities that go along with playing certain roles. The over saturation isn’t necessarily something to be feared. I won’t let past productions get in the way of any role and certainly won’t with this one. I’ll be influenced by past Hamlets as much as I’ll be influenced by myself and the artists I’m working with. 

Theatre For Thought, February 25, 2012

ANOTHER HAMLET

joel fishbane

As far as theatrical trends go, our obsession with One-Man Hamlets has to be one of the most bizarre. No one ever seems interested in solo-versions of King Lear or Henry VIII, yet new one-man versions are cropping up all the time (and yes, it is always one man). Artists who have tackled the idea include Clayton Jevne (Victoria), Michael Birch (New York) and the folks at the Classical Theatre Company in Texas. Until recently, the latest version was Rhaoul Baneja’s Hamlet (Solo) which has had a life of its own since appearing at Theatre Pass Mureille in Toronto. But Baneja will have to make some room on the bench: thanks to BJ Harrison, there’s a new one-man Hamlet in town.