Welcome to this introduction for the audio described performance of

William Shakespeare’s Hamlet, a powerful new adaptation directed

by John Haidar and featuring Billy Howle in the title role.

The show is on Saturday November 12th at 2.30pm, with a touch

tour of the stage and set at 12.30pm. Before the performance there
will be a recap of these introductory notes at 2.15pm. Hamlet lasts
for approximately 3 hours, including a 20-minute interval. The
performance will be described by Megan Shaw and Rachel Bell.

The following recording lasts around 13 minutes and includes

information about the set, characters and costumes followed by
access information, content warnings and contact details for the
venue.

SET

Hamlet incorporates elements of the modern world, such as video

projection and strobe lighting, within a more timeless setting.

The story unfolds in and around the monumental walls of Elsinore,

inspired by a real castle in Helsingor, Denmark. It is a world of
shadowy staircases, hidden doors and black voids.

The castle is represented by a slab of grey wall, standing 5 metres

wide and over 6 metres high at the rear of the space. The stone
wall is clad in black, textured wooden boards, sometimes lit to
produce deep shadows, while mist and projections create new and
interesting textures as they move over the surface.

The wall revolves in a full circle to reveal new rooms, winding

staircases and darkened doorways, offering characters a variety of
vantage points from which to spy or eavesdrop. Two more tall
sections of slatted wall stand separate and in front of the main
structure on either side.

The rest of the palace is suggested by a split-level black marble

floor that extends in front of the wall. The first level is two metres
deep, with two shallow steps descending to a lower level, 3 metres
deep. The floor is laid with glossy tiles marked with diagonal lines
which connect to form diamond patterns. On either side of the lower
level are a pair of wide arches.

When we meet Hamlet a projector beams television images onto a

partly transparent curtain, in front of the walls at the top of the
steps. A switch in lighting reveals a tableaux of the cast standing
behind, dressed in theatrical Venetian masks as an official state
room is revealed.

When characters speak directly to the audience, the wood panelled

wall darkens to black, illuminated by a border of bright fluorescent
strip lighting. Later speeches are backed by projections showing the
passing of clouds or jagged, shifting lines resembling electrical
brain-waves.
The wall revolves in a clockwise direction to reveal another room in
the castle. There is a dark open doorway on the right hand side
which is bordered by industrial style granite grey panels.

The wall returns to its previous configuration, representing an

exterior platform. There is a doorway, 2 metres off the ground in
which the ghost of Hamlet’s father watches. A subtle shift in lighting
allows the doorway to disappear, replaced once more by wood
panels.

Another revolution takes us to a new room in the castle. On the left

hand side there are two flights of steps, leading to a largely
obscured doorway in the wall. To the right there is another opening
at ground level.

When a play is performed in the palace hall, the royal household

watches from a raised vantage at the top of the steps. They sit on
chairs as the players act out the drama below.

Another turn reveals a new room with a gap in the centre of the
wall. A long, steep staircase fills this gap, leading to an unseen
doorway halfway up.

Queen Gertrude’s private rooms are represented by a single

wooden trunk placed front left. Hanging above is a light fitting
shaped like a bull’s horns. The back wall is covered by black
curtains with space in the centre for a mirrored door.
The story moves to a churchyard represented by a 2 and a half
metre long grave, dug front centre. When the gravedigger stands
inside only his top half is visible.

Hamlet climaxes in the great hall where the lower level is kept clear
for a duel. At the top of the steps there is a long wooden table with
wine bottles and glasses, next to it is a stand holding four fencing
blades.

CHARACTERS AND COSTUMES

Now a description of Hamlet’s sixteen characters, ten major and six

minor, beginning with Hamlet’s family.

Hamelt, a Prince of Denmark, is a white man in his early 30s. He

has tousled, auburn hair which matches his generally casual
appearance. Hamlet has light blue eyes with expressive eyebrows
and a wide mouth. He is six feet tall and has a slim build - his
movements are generally relaxed and he walks with a slight
swagger. When roused to anger or excitement, his gestures
become exaggerated with flamboyant use of his body and limbs.

Throughout several costume changes he remains entirely dressed

in black. First appearing in a denim jacket and skinny jeans, paired
with a black t-shirt decorated with jagged white lines. He later
changes into a long-sleeved satin shirt and a vintage leather jacket
along with black Chelsea boots.

Gertrude is Hamlet’s mother and the Queen. A white woman in her

early 60s, she is 5 foot 5 inches tall and of medium build with wavy
grey blonde hair worn in a chignon bun. Gertrude is graceful and
confident and presents herself elegantly at all times, with flowing
silk dresses and wide legged trousers paired with low heels. She
always appears interested in those around her, standing close to
her companions during conversations. She moves with enthusiasm,
taking long strides and often throwing her arms out wide.

Claudius is the new King of Denmark and Hamlet’s uncle. A white

man in his early 60s, he is 5 foot 8 inches tall, slim and wiry.
Claudius has a bald head and is clean shaven, accentuating his
craggy features. He presents himself with quiet authority, standing
with legs apart and leaning into conversations. His clothes are
smart suits in sober colours which are well cut and give the
impression of wealth and power.

The Ghost of Hamlet’s father is a mostly spectral figure who

dresses in typical black hooded garb disguising his face.

The House of Polonius

An advisor to Claudius, Polonius is a black man in his mid-50s, 5

foot 8 inches tall with a rounded body shape. He has a jovial
demeanour, often smiling broadly, with twinkling brown eyes.
Polonius wears black framed glasses and has a shaved head with
salt and pepper stubble. His clothes are smart but sharply tailored,
wearing suits in slate blue and dark grey, with a maroon tie and
pocket square. His shoes are brown leather.

Ophelia is Polonius’s daughter and Hamlet’s love interest. A

woman in her early 20s, she has pale, white skin and long, wavy,
light brown hair which she wears in a low bun. Her hair becomes
looser as the play progresses until her final scenes where it is
completely down. Ophelia’s eyes are large and vivid green, her
mouth bow-shaped and her cheeks and chin slightly dimpled. She
is 5 foot 6 inches inches tall and has a slim build. When anxious
she hugs herself and fidgets with her hand and rings.

When we first meet Ophelia she is dressed in an elegant navy blue

halterneck dress, silver strappy heels. She later appears in a bright
green crochet top with short sleeves, blue jeans and light pink
high-top trainers. Ophelia’s final appearance sees her barefoot,
wearing shorts over a large shirt covered in mud.

Laertes is Polonius’s son, and the brother of Ophelia. He’s in

his mid 20s, tall and long limbed with a medium build and ,dark
curly hair. He has a reserved manner but when pushed into action
his physical actions are swift and muscular. Laertes dresses in
smart-casual clothes, light brown loafers and a loose fitting muddy
brown suit worn with an blue open necked shirt and later a maroon
polo neck.

Friends of Hamlet

Horatio is a woman in her late 20s, 5 foot 6 and slim. She is of

mixed African and white heritage with brown skin. Her hair is styled
in thin waist length braids worn in a high ponytail and later a bun.
Horatio dresses in modern, youthful clothing, with bright lime green
tops, baggy washed out blue jeans and high-top trainers, later
changing into a more formal baggy trouser suit. She has an
enquiring face and moves with quick, alert movements.

Rosencrantz is tall with a shy and awkward demeanour and moves

slightly stiffly. He wears tortoiseshell framed glasses and a loose
fitting green jacket, navy blue trousers and black leather shoes.

Guildenstern is a white woman, five foot four inches tall and slim.
She has a relaxed manner and an open face. Her light brown hair is
shoulder length and she wears a light blue cotton jacket, tan
trousers and black loafers.

Palace servants and staff

Reynaldo, who acts as a spy to Polonius, stands with a straight

back and looks attentive at all times, communicating through
plentiful hand movements. She is a petite woman in her late 20s,
professionally dressed in a black trouser suit, white shirt, black
loafers and clear frame glasses. Her hair is twisted up and held in a
clip.

Osric, a courtier of Claudius is slightly camp and affected in his

mannerisms and dress. 5 foot 8 inches tall and slightly overweight,
he wears a purple smoking jacket over a pink shirt with cravat.

The Players are a pair of actors who visit Elsinore to perform at

court with Hamlet.

The Player Queen has quick bird-like movements. She is dressed

in period costume, wearing a cream coloured Elizabethan dress
with long sleeves, petticoats and a deep pink sash across the body
with cream ballerina slippers.

The Player King has slicked back,slicked back, black grey hair and
the beginnings of middle aged spread. Upon arrival, he is drably
dressed in blue jeans and brown jacket and moves a little
ponderously, but bursts to life when he acts. His stage costume is
traditional Tudor doublet, hose and cape. The player king and
queen wear gold Venetian masks for their performance.

The Gravedigger dresses in black and wears a knitted cap, gilet

and black combat boots. He is a weary looking soul, always
clasping a shovel, a cup of tea or pressing a hand to his chest.
CREDITS

Billy Howle plays HAMLET

Niamh Cusack is GERTRUDE
CLAUDIUS is played by Finbar Lynch
Mirren Mack is OPHELIA
Jason Barnett plays POLONIUS and OSRIC
LAERTES and ROSENCRANTZ are played by Taheen Modak
Isabel Adomakoh Young is HORATIO
Catrin Stewart takes on the roles of GUILDENSTERN, REYNALDO
and the PLAYER QUEEN
The PLAYER KING, GHOST and GRAVEDIGGER are played by
Firdous Bamji

The creative team for Hamlet is

Director - John Haidar

Set Design - Alex Eales
Natalie Pryce is the Costume Designer
Lighting Design is by Malcolm Rippeth
Composer & Sound Design - Max Pappenheim
Video Design - Jack Phelan
Lucy Cullingford is the Movement Director
Casting Director - Sam Stevenson
Fight Director - Bret Yount
The Costume Supervisor is Zoe Hammond
And Elinor Lower is the Assistant Director
ACCESS INFORMATION

The Bristol Old Vic is accessible through the theatre’s main

entrance on King Street - please note that the street is cobbled. Full
access information for the Bristol Old Vic can be found at
https://bristololdvic.org.uk/your-visit/access/general-access-informat
ion

If you need any further assistance, for example if a visit to the

Theatre in advance of the show would help, then either contact the
Box Office on 0117 987 7877 (1pm to 6pm Monday to Saturday) or
email [email protected]

CONTENT WARNINGS

Hamlet contains violent scenes (including stabbing and choking),

murder and suicide. There are two live gunshots and strobe lighting
is used during the performance. Cigarette smoke is also featured.

That is the end of this audio introduction.