Tuesday / December 10 / 2019
Written by Emma
One of our newer members piped up almost immediately after lowering our ring, suggesting that we “start from the beginning [of the play.]” Nodding heads around the circle seconded her idea, as one of our returning members began strategizing how we should go about doing that. She remarked that last season, “we ran the scenes three times--it was the magic number!” She smiled and added, “but for me, it’s two.”
Facilitators didn’t even have to ask the group what we would like to do today--it seemed they already knew! We started at the very beginning (which, as Lauren pointed out, is “a very good place to start”) with 1.1. Our goal was to run the scene once, collaborate on blocking, then run it again with some new ideas. Before we even got started, one woman hopped up and began strategically setting chairs, tables, and even artificial plants across the stage. “What are you setting up?” another woman asked. The first woman stopped, thought for a moment, and said, “When there’s more objects, there’s more to do!” When she finished, we got some actors onstage and began our run.
The tone of this run was, surprisingly, rather comedic. In this scene, we find guards on watch duty discussing the odd goings on in the kingdom, and they encounter a ghost who looks just like the recently-deceased King Hamlet. The actors playing the guards delivered their lines with an almost machine-like quality: upright and stoic. That is, until the ghost came onstage. One of our guards scurried behind a fake plant in fear, which elicited laughter from the entire ensemble. Even our ghost, who had held a chilled expression, began to crack a smile.
One big highlight of the run was watching one of our first-season members read for Horatio. At multiple points this season, she has expressed discomfort with acting, saying she wasn’t sure what to do when she was onstage. Facilitators and ensemble members alike have spent the past few months giving her time, space, and support to help ease her stress. It seemed like it all paid off as she confidently walked around the stage. At one point, she even realized that she was upstaging her scene partner, so she repositioned herself to open up the stage. A real pro move!
“You already know what I’m going to ask!” Lauren remarked as the scene came to a close. The question, of course, was how that scene had felt for the actors. We talked about how we liked the comedic undertones and strategized on how we could re-stage and block in order to ham it up a bit more. We imagined where the guard tower could go (using a music stand as a marker), and after some rearranging, we were ready to run it again. The second run immediately looked better. One actor stood at attention behind the music stand/guard tower, scanning the horizon for any signs of disturbances. Two more guards marched back and forth across the stage, turning on their heels in unison, as Horatio struggled to get them to listen. It was much more apparent what was going on in the scene, and we got some new blocking ideas.
The group was ready to move on to 1.2. This scene is significantly longer than the previous one and provides much of the background information needed to understand the events of the play. One of our new members volunteered to read for Clauduis, who more or less talks at everyone else in the scene for a few straight pages. Realizing what she had gotten herself into, she didn’t shy away from the task. Instead, she let everyone know that she struggles with pronunciation but to not correct her if she made mistakes. We all agreed, and the scene got started.
“Really, who isn’t in this scene?” I wondered as almost our entire ensemble took the stage. Claudius took a strong stance in the center of the stage, and the other actors fanned out behind her in a way that visually emphasized the relationships between the king and his people. Claudius carefully made her way through the challenging text, taking her time with phrases and occasionally substituting words to maintain a flow.
After a few minutes, we took a break to re-strategize. Where should people be standing? What should actors who aren’t speaking be doing to keep the energy high? The facilitators pointed out that much of the text will be getting trimmed down for performances, but it’s still a good idea to start thinking about ways to block this scene.
After tossing around a few blocking ideas, Claudius piped up to say that she was having difficulty understanding her character. She said that she was feeling more connected to Hamlet in this scene, what he was saying and doing. Lauren gave her some more ideas of what Claudius may be thinking based on where he’s at in the play, which seemed to put her at ease.
Before we could run the scene again, our time was up. We raised the ring, having made some excellent progress on serious blocking!