In “Hamlet,” you have the makings of what the late Shakespearean scholar Harold Bloom described in his “Hamlet: Poem Unlimited” (Riverside Books, 2003) as “the Hamlet complex, of which murderousness forms as large a component as does self-conscious theatricality. Or are the two components fused: Should we speak of murderous theatricalism?”
But what of us? Should we also speak of murderous theatricalism in an AI-fused Trumpian society that is all about communications and reality TV but lacks communication skill?
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Read MoreI am a collector of “Hamlets.”
My first stage experience of Shakespeare’s best play occurred when I was 15 and saw the now-defunct American Shakespeare Festival’s production with Brian Bedford in the title role. It was striped tights, codpieces and an emphasis on Hamlet’s friendship with Horatio. I can still see Bedford, whom I would later interview about the part, being carried off the stage at the end – his head thrown back, his long, dark hair cascading. I loved it, though that may not have been my first “Hamlet” experience. ...
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Read MoreRecently, a trio of screen stars has taken to the London stage to portray three of Shakepeare’s greatest characters – David Tennant (“Dr. Who”), Richard II; Jude Law, Henry V; and Tom Hiddleston (“Thor”), Coriolanus. Together they offer a kind of round robin of Shakespearean performance. On PBS, Tennant was a febrile Hamlet, a role that was played with lucent rationality on Broadway by Law, whose Henry V follows hard upon Hiddleston’s charismatic interpretation in PBS’ “The Hollow Crown.”
The three also offer lessons in leadership undone at a time in our history when the systemic failure of Alexandrian leadership – leadership from the front – continues to haunt us. What, for example, would the Bard make of New Jersey Gov. Chris Chrisite? Would he cast him as his blustery Roman general Coriolanus, a man whose skills are undermined – no, doomed – by his own arrogance and blindness to the will of the people? Read more
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