Though this be madness, yet there is method in't

The second section of this year's 'entrance' exam question on Hamlet was a traditional essay question and asked: (b) ‘In the world of Hamlet trust is a rare commodity.’ Using your knowledge of the play’s opening scenes, show how far you agree with this view. Remember to support your answer with reference to different interpretations. The first thing you need to do is form a hypothesis which engages with the statement that  ‘In the world of Hamlet trust is a rare commodity.’ Is trust rare? Who trusts whom? Who doesn't? What happens at the start of the play to set this up? What kind of overarching idea do you have? But it is also worth thinking about 'trust' in more hopeful terms. Where are the moments and relationships of trust? Could this actually form the thrust of your argument? Or at least some kind of 'counter' to a bland acceptance of the statement. Horatio's presentation as a trustworthy character, reinforced by the ending? The strong all...

Ophelia makes Polonius 'present' in the absence of a body This is the shortest act of the production at just 28 minutes, but is full of pace and action. The stage is filled with ever-changing movement. Increasingly sinister and ominous music between scenes contributes to the building sense of threat, and the movement to different locations seems almost seamless; as though we are running through the castle with the characters. There are instructions, letters, machinations, plotting. Hamlet's arrest by a guard is very physical: he is thrown to the floor in a half-nelson submission hold. His insolent foot tapping and movement, and loose-limbed rebellious mocking of Claudius get the audience on side and there is much laughter - but his reactions seem those of a man who has run out of options and has nothing left to lose. Everything about Essiedu's appearance and manner is subversive; down to his shabby clothing and turned-up trousers - in such contrast to the costume...

Today we reach our dramatic, and tragic conclusion. The final scene begins with Hamlet explaining to Horatio how he has altered the letter from Claudius condemning him to death - and substituting the names Rosencrantz and Guildenstern instead. They are interrupted by Osric, a courtier, who issues the challenge for a duel with Laertes - in order to settle a bet for the king. It probably didn't look like this. Moments later, after Hamlet issues an apology to Laertes, explaining that he acted in madness and without 'purpos'd evil' (V.ii.237), the duel begins. It can be seen as another example of a play within a play, a performance staged for a court audience as well as the theatrical one. Laertes selecting the poisoned foil and Claudius preparing the poisoned drink with a deadly jewel, 'Hamlet, this pearl is thine' (V.ii.284) as planned. Hamlet, unaware of the plot against him, wins the first points - and Gertrude drinks to his health from the poiso...

The final scene of Act IV sees  Claudius and Laertes concoct a murderous double-poisoning plot against Hamlet, and the Queen brings news of Ophelia's death. Before the scene begins it seems that the King has been telling Laertes his version of Polonius' death, along with his belief that he, Claudius, was his next target. Claudius gives a couple of reasons for not already having taken more extreme measures against Hamlet: firstly to please Gertrude, and then through a second reference to Hamlet's popularity with the people, the 'great love the general gender bear him' (IV.vii.18). But there is emphasis on action, and that action springs from Laertes, 'my revenge will come' (IV.vii.29); 'devise it so/That I might be the organ (IV.vii.68-69) from Laertes, and Claudius, in the business of egging him on, 'That we would do/We should do when we would' (IV.vii.117-118). Unlike Hamlet of course, who didn't avenge his father's death by k...

The famous young Fortinbras, Norwegian crown prince first mentioned in the opening 100 lines of the play and referred to subsequently in Act II, finally makes his entrance; embarking on the 'promis'd march' (IV.iv.3) - the permission earlier granted for him to cross Denmark in order to battle over a piece of land now in Polish possession. More on the significance of this in Hanratty's Episode 121 of The Hamlet podcast . I can't think of a better way to spend seven minutes of your life at this point. Fortinbras encounters Hamlet, and so there together on stage are two young princes, both caught up in the business of avenging the deaths of their fathers. Except that perhaps Fortinbras is getting on with his a little more purposefully than Hamlet who may be guilty of 'thinking too precisely on th'event' (IV.iv.41) as he himself observes.  Indeed, his soliloquy begins by stating the way in which every event and encounter reminds him of his ...