For the RADA MA Theatre Lab 2024 Clown adaptation
of a classical play,
we chose The Winter's Tale. AKA Exit, Pursued By. 

You can find previous Clown Dramaturgy posts from previous Clown adaptations by searching in the Categories (see to the right).
All photographs in this post by @slycatempire

One thing I love about approaching Classical texts in Clown is the ability to reveal the absurdities of misused power (as well as the concurrent pathos of those on the receiving end of injustice). 

Also I love the ability to elevate the lowly characters, and the overlooked perspectives. We featured the sheep, the servants, the baby Perdita, Florizel, a tree (in Bohemia) and The Bear. The Bear's through line culminated in an Anger Management meeting  which Leontes attends.

Double up!
The large cast exigency of doubling characters doubles the fun of stage business as well as amplifying themes and emotions - for example: Hermione's pain; Leontes' Tyranny (and subsequent grief); and the Mama Bear ferocity and care of the plural Paulinas. 

​Set the theme
We began the play with a Country & Western song about a grieving man 'Statue of a Fool'  sung / spoken by the two kings. 

Set the scene
And then segued into an ensemble tableau of Leontes's court. See the image above. Enough time was spent here to enable to audience's eyes to take in the madness and clown genius of all the details. You'll see, on the right, a foreshadowing of The Bear. Missing from the photo above is a found prop (it was not in the room when the photos were taken). One person in the court tableau had chosen to mime fanning the King. 'Can we get a fan?', I asked? A large woven fan maybe? It needs to be big. Someone in the company indicated an electric standing fan in the room. The performer (who was one of the Hermiones) comes from India and she (as did we all) enjoyed the opportunity to depict injustice in an absurd way and, via the medium of clown, deliver an anti-colonial message. The Fan had a cord - 'can you put that over your shoulder'? And then Hermione #2 stepped forward and held it - 'oh, yes! can you plug it into your heart?' As she acted being drained/slightly electrocuted, a bit of Dark Clown suffering was added to the picture. 

Use humble magic
The titular concept of Winter was honoured at a few points during the 50 minute piece with tiny accents of tossed torn-paper snow provided by the framing ensemble - marking moments of weather, or emotion or magic. Our Rock-star Oracle sprinkled some over themselves to add pizzazz in their appearance in the courtroom scene. (In this image below, you get to see the fan!) 

Honour the through line of your props.
​'The fan needs a payoff', I said. At the end, for the miraculous transformation of the frozen Hermione, the fun was brought forward (now plugged in to electric supply) and handfuls of paper snow plumed towards the frozen statue of the double Hermiones. 

Find and love your Metaphors
Find your metaphors and honour them. The Statue of a Fool song presages and adds a bit more oomph to the statue(s) at the end, as well as serving a point on how patriarchy hurts men too. Both Leontes and Hermione endure a process of petrification.

Running Gags
​Running gags are a part of Clown Dramaturgy (they can either serve a function akin to that of symbolism in dramatic works, or simply assist the game of laughter nudges. Any time it was mentioned, the guards thumped their fists on their breastplates and chanted percussively: 'SI.CI.LY!' (later to be countered by Aloaha-shirt-clad guards from 'the seaside country of Bohemia. 'ALL. HAIL.BOHEMIA!')

Neglected perspectives
To continue the point of focusing on the neglected perspectives of the play. We enjoyed having a representation of Perdita as a baby - allowing us to highlight the anxiety over her abandonment. We used a baby body prop - made by the player who wore it - the likes of which used to appear in Vaudeville acts. I also used this prop device in Strange Forces. 
The actor played the baby with a sometimes sassy joie de vivre and sometimes a sweet innocent obliviousness (e.g. babbling a lullaby gently to herself as The Bear appears onstage). This created an effect that was memorable; ridiculous, hilarious, but palpable. Also slightly surreal and sad. It also allowed us to show the anguish of those who came in contact with her (adding a bit more Dark Clown flavour there also).

Double fun
​Doubling the characters brings double the impact (see the fierce four-armed Leontes below) and double the fun (the palace guards) plus a complexity of attitude and response to characters (see the two Hermiones here below). 

Make the pain palpable (and cathartically ridiculous)
​Other overlooked moments in the original Shakespeare text includes the fact that Hermione gives birth in a prison. Cue the Prison Birth Rap (imagine the beat underneath).
Prison birth - The bed was not comfortable
Prison birth - The equipment was not clean
Prison birth - No epidural
Prison birth - Nothing fit for a queen
Prison birth - No Pilates balls
Prison birth - No paddle pools
Prison birth - No whale music
Prison birth - It’s  just awfool

You can see here above the two Kings bearing witness to this (on the right, one sitting, one standing on a chair) - note their individual reactions to the moment.

Shared experience 
I love having all actors onstage throughout the piece (Shared Experience theatre company used to do this to wonderful focusing effect, albeit in drama, rather than clown). It requires a lot of focus from the ensemble during the devising and requires a lot of detailed focus from the directorial eye, but can add the power of choric moments (at one moment, the whole ensemble played Leontes' rage as a thrashing serpentine tail). It also certainly gives more playing opportunity to the clown players not in the centre space scene-play of the moment.

Ensemble means no small parts
Stanislavski said 'there are no small parts'. See the charisma and joy of this clown serving in the courtroom scene as 'Stenographer's desk'. 

Strategic Stupidity
And here, right, this clown serving in the role of 'Tree'. As well as evoking the country of Bohemia, the sole tree underscores the utter aloneness of the baby after the guard who delivered here there (yes we used a Guard, not Paulina's husband as in the original) makes an uncomfortable exit due to the arrival of - you guessed it - The Bear. The Tree character also keeps us invested in the thought that the clowns have decided to stage the play this way.

Follow through your stupid idea
​See here below left: the Shepherd, her stupid son and sheep. The shepherd and her son saved the baby and now we see (below right) the grown Perdita (alongside her baby-self for both fun and Clarity). 
​
The Shepherd's favourite sheep is beside her, although they are indoors. In this scene, after Perdita confides to her adoptive mother both her love for a 'very special boy' and the fact that he is - ta dah! - a Prince in disguise (as a sheep in our clown world) so as not to attract the displeasure of his father, King of Bohemia).

Beats and reactions
​Below - more joy of doubles, plus react, react, react. As Mamet said: 'Beat, beat, beat'. I don't think he ever said exactly that, but that is how the audience follows a story (this, then that, then that), and how the audience understands the stakes and follows the emotional arc of the story. Dramaturgy is built beat by beat. Is that true or does it just sound good because of the alliteration?

​Anyway it's worth saying because many new theatre makers can get trapped at the level of their ideas. How does your stage action play out over the duration of your stage time? What is the nub of your piece and how does that express itself into different threads? Keep us interested using variety and contrast from moment to moment. During the devising process, be sure to keep the mind in a state that's receptive and playful enough to pick up on the running threads. Is something bringing your process to a halt? ... do you need to incorporate something planted earlier? Or skip to another scene elsewhere in place and/or time, or just change mode (i.e. from tight action to a musical interlude?) 

The take on the story - Time, trouble and a moving tableau
Now that's timely (pun unintended but let it stand) - because there is a Time Out in The Winter's Tale that is about the passing of ... Time. 

Here we picked up on one of the statements that was harvested from the Clown Council process - one clown thought that Shakespeare must have been very depressed to write TWT. This Clown Council statement led me to research Country & Western music, famed for articulating heartbreak, which led to the fortuitous finding of the 'Statue of a Fool' song.

One clown states: 
We’re not here to tell you what to do …
We’re just researchers …
We’ve taken this disturbing artifact
And are trying to work with it, understand it 

(By the way, this drops a seed for the philosophical / quasi scientific investigation of the magical transformation at the culmination of our play.)
 
We see another (non-static) tableau of: time passing in abstract movement, the bear eating the dead guard. the KIngs in desolate torment, the Aloha-shirt-clad guards of Bohemia surviving their imprisonment, the growing and maturing Florizel and Perdita (placed edge of frame stage right and left)  transforming as if by time-lapse photography during the scene. Plus a few sheep living their sheep lives.
One actor almost broke my heart here as her sheep as she subtly but palpably moved through the seasons, shivering stoically in the winter because of the shearing (mentioned in TWT as well as our version of the play).

​Sung on a strummed guitar to the tube of Tom Wait's 'Time.' 

Well a king got a bee in his bonnet and his wife pays the price
And his dear son dies because of it all
And there's travel by sea to a landlocked country
Where a bear has a new arrival to maul
And the baby doesn’t cry ‘cos she’s known no other life
A fiancée’s growing up and they will meet
And the storm’s inside your mind and the rain is everywhere in life
And the king has nothing left
But a stack of regret.

​And it's time, time, time ...

Learning how to bear it 
Sadly on the photo shoot we got no images for the Bear Anger Management meeting scene, but here's a snippet of text:
​
Teddy: My name Teddy, I'm a bear.
Group: Rawr, Teddy …
Grizzly: My name is Grizzly
Group: Rawr, Grizzly …
Grizzly: I don’t know why I’m here – I’m not angry, I’m a bear.
Bear Facilitator:  It’s ok, this is a safe space. Remember our motto – anger is Bearable.
Group (nodding): Rawr ...
Leontes (seated): My name is Leontes
Teddy: You have to get up.
Leontes (gets up): ... Leontes, I’m a king ...

After Leontes gets in touch with his feelings and is given advice, someone else raises their hand: 
Bear Facilitator: And you, what’s your name?
Clown stands: Bozo the great. 
Group: Rawr, Bozo.

Funny haha
A funny thing (pun acknowledged) about playing Shakespeare - the clown speeches are not always laughter-provoking on the page. Humour does not age well. The antique phrasing, words and concepts don't easily split the ribs of a 21st Century audience. Speaking of words, in TWT, the Shepherd's stupid son is literally listed as 'Clown' in the Dramatis Personae.
We need to remember that the meaning of the word clown has changed since its inception. Wikipedia says: 
'c. 1560 (as clowne, cloyne) in the generic meaning rustic, boor, peasant. The origin of the word is uncertain, perhaps from a Scandinavian word cognate with clumsy.'
In the Clown Council process (this is the exercise where, the players, in clown state, reflect spontaneously on the original text and it's themes), a few of the clowns protested: '... 'and the 'Clown' isn't even funny!'

Bozo: I’m here to protest the level of un-funny of the character called "Clown" in 'The Winter’s Tale'.
Really he should just be called what he is – the shepherd’s son. It’s a crime, giving misrepresentation
to our trade.
(unfolds piece of paper)
Here are some of the "clown’s" 'jokes'. Which are really just – dialogue.
a/ Prithee bring him in; and let him approach singing.
b/ Comfort, good comfort! 
c/ Ay, by any means prove a tall fellow.
I don't even think that last one's grammatical.

In one rehearsal, The actor playing the Clown, seated at the edge, interrupted this scene by laughing in an inane high pitch after each of these underwhelming phrases. It was a nice follow through of the whole 'clowns approach the text' conceit so we plotted that contribution in.

Weaving themes through like a dance 
One more follow through was at the sheep-shearing party scene.  I asked the group for contributions for folk dance music. One person suggested Struttin', continuing the C&W reference at the very start of the piece and the upbeat rhythm of the track made it perfect for a line dance. See here below.

The full Pastoral
​In the image below this - note the shepherd's son's shears at the ready. 

Winding up
It was humbling bringing the piece to a close. These Clown adaptations (as part of the module I lead each year) are written/devised and rehearsed in about ten hours.

After playing fast and loose with certain aspects of the original play and story, I really got to appreciate at first hand how deftly Shakespeare would follow through and knit together all the threads.

We had to elegantly (while still stupidly), bring together all the parties and resolve all the problems and reconcile all the relationships and bring not only the plot, but the conceit of our piece to a satisfying close. 

​Conceit: Clowns encounter a play about rage and regret and loss and new gains, and in their playing of it, show the audience the role of humour and of wider imagination* in achieving it.

* The clowns have empathy for the bears and the sheep, as well as for the humans. Also the clown play holds the possibility for multiple views to co-exist. They can critique Shakespeare's poor or negligent grip on geography (Bohemia as a seaside country), as well as offering the perspective that those in power can absolutely be as stupid as they (the clowns) are seen to be by the 'sad normals'**.

** 'sad normals' is a teaching phrase I use (of course, there is, in life, no normal).

Addenda:

Metaphor and music 
Oh, one more thing - the storm. The harrowing event that causes the wreck of the ship aboard which was the guard bearing the baby. It's a metaphor for the storm in Leontes' mind (mentioned in the song 'Time' and both metaphor and reality of the wide-spread havoc his unschooled emotions have wrought. Imagine this photograph (below) in movement - not pictured is one clown who circled the group and made a leaping pantomime blanche crick-crick-crick crack of lightning on centre front each time.
We planned to use music here, but opted for the splish-splash/wind sound soundscape created by the clowns themselves.

The cohort was an international group and we used, at one player's suggestion, a brilliant Icelandic heavy metal track based on a folk song. This was used in the choric writhing serpentine tale created by the full ensemble that formed in the space at the peak of Leontes' jealousy.
Leontes:
I can see them in my mind’s eye
Making the beast of two backs – without me!
Emotions, feelings! What are they?! I don’t want them!
Ensemble form writhing Jealousy train covering whole stage
SFX: Icelandic rock music
Put her in prison!
Lock her up!
Ensemble chants: Lock her up!
Chant continues as ensemble forms prison scene.

Set pieces
The storm, like the courtroom is  a great set piece. Different to the original meaning of that word is the fact that the clowns use their own bodies to create the special effects. See also the image under the heading 'humble magic' where you'll see The Oracle appearing from behind the flipchart scroll, elevated on the shoulders of the tallest ensemble player. (I love that this player chooses to serve this function while simultaneously playing his role as the young son Mamillius). This seeming ridiculous, chaotic style allows for the richness of layers.
The prison was another such scene, with ensemble members providing physical support as well as restraint for the pregnant Hermiones.

Showing the usually un-shown - the pregnant Hermiones in prison. 

Prop check and quiet individual ​a l'italienne run before the invited audience sharing. 

Comedy and Tragedy
Tragedies are perfect to adapt for Clown – the contrast between the high and the low, the lofty and the stupid is so sweet. If you’re a fan of this blog, you’ll have read other Clown Dramaturgy posts. This year, we approached Shakespeare’s mighty tragedy Hamlet.
Hamlet is ‘clown ready’ - it’s a great big tragedy full of failure, clumsiness and lack of nobility: ‘I’ll lug the guts into the neighbor room’.

Content warning – the tragic events of Hamlet: war, death etc - are mentioned in this post. 
​This blog post reflects on Clown Dramaturgy in the Spring 2023 production on the MA Theatre Lab at RADA, where a clown troupe play a classic text. It is devised and rehearsed in just 10 hours. A sharing/showing with no technical aspects.
 
Clown Council Process – to find key ideas and help casting
​
The Clown Council is an effective clown devising tool. It’s described in this blog post and mentioned in this one also. 

​The Clown Council not only brings out the themes the group are interested in, but the proclivities of individuals in the group; which makes it useful as a casting process.
 
With the group of 18 assembled in a seated circle, one clown stood and weighed her hands on either side and said ‘It’s all - should I do this, should I do that?’, conveying her exasperation with Hamlet’s inaction and equivocation. Another stood and raised a mime sword and said in a sweet high-pitched voice, ‘Conflict’ - the gesture was so innocently valiant. One of them mimed digging a grave. ‘Madness!’, said another. ‘Slutty mother’, said another clown. Another laments Ophelia as a victim of patriarchy: ‘Hashtag MeToo!’.
 
Key idea
 
We all liked the idea of Hamlet being therapized. One student suggested the show title ‘Fixing Hamlet’. Brilliant – the clowns have a mission and therefore the show has the possibility to be a machine for failure. Comedy (like Drama) is about things going wrong.
 
In our next session, I divided the group in two and asked each to construct an image of a therapist’s couch, using their bodies. We chose one version and detailed it. Then the second group made a throne-like therapist’s chair.

Self-casting
 
The Clown that had gestured with her hands became our Hamlet, lying down for a therapeutic session on a couch made of beleaguered fellow clowns.
 
The clown who had called out ‘Madness’ became the therapist. The ‘slutty mother’ clown was delighted to play Gertrude.

​A trip to the props store yielded a small golden breastplate for the valiant clown and an assortment of swords, including a small, wooden sword. We didn’t at first know who this character would be.  We began sketching out a couple of scenes - and in one moment it was clear: ‘You’re Horatio!’. He grabbed some masking tape and made a superhero-style H on his armour. Poor helpless Horatio, always at the ready to serve and support his friend and only rewarded by always having to helplessly watch.
 

Engagement and the Game (with the audience)
 
But why have the clowns gathered and what for? To further clarify our adaptation and to further engage, we discussed what the game with the audience might be.
 
The idea of Hamlet as a problematic, self-involved, dithering figure led to the idea of an Intervention. But not for Hamlet, for the audience. A Google search led to an article saying that part of the intervention process is the reading of a letter – handy template was provided, and adapted.
 
Intervention Clown: reading letter: “Dear Audience,
We love you … but not in a creepy way.
You may not think about us much, but we think about you … but not in a creepy way.
You have watched us, but we have also
watched you. Watched you as you sat in front of the theatre stage and cried.
We know that your lives are busy and that once the comedy and tragedy are over, you pack away your tissues and armour up your hearts.
knock knock (one clown knocks on Horatio’s breastplate.)
Because the life out there is hard. 
knock knock
The news is hard. 
knock knock 
And you are hooked
Clown chorus: soft gasp
on all the everyday Drama. Sorry, it had to be said.
Hooked on the reason and the rottenness and the murders and the mayhem.
And the politics and the petulance.
And the disasters and the desperation.
And you think it’s not about you at all.
 
Think of tonight as a rehab program for you.
You can call us fools, but we think that if we can take the biggest drama of them all …
Clown chorus: in a flat tone Hamlet
Intervention Clown: … and heal it, then maybe, just maybe … we can heal you. And heal the people you vote for. … The Trickle Up effect.
Tonight we present for you - ‘Fixing Hamlet’.”
 
‘Fixing Hamlet’ also sets up stakes. Beyond looking forward to the unfolding of the story, a part of the audience’s attention should be activated: ‘How is this going to come off?’

​​Putting the backstory centre stage

Carlo Boso once said that the three big themes of Commedia are ‘sex, money and death’. The inciting incident of Hamlet is the death of the old king.
 
One cast member contributed the idea of a chalk body outline. In the ‘prologue’ (spooky castle rampart scene). The audience see the dead Ghost King lay down and two clowns from the ensemble swiftly use masking tape to create the crime scene outline round ‘him’, which remains centre stage throughout the show.
 
The chorus make spooky soundscape during the taping round the King’s body.
Guard Clown 1 (plodding forward, big pose): What if again this apparition come?
Guard Clown 2 (steps over corpse, then big pose): Tush, tush, ’twill not appear.
Chorus Clown: (with wobbly arms) Spooky!
The Ghost King slowly rises up. All recoil, fixed point, faces snap to audience.
Guard Clowns together: It harrows me with fear and wonder!
The spooky parapet scene transforms into the therapist office.

Ensemble cast - multiple points of view

This show (like those in the previous blog posts mentioned earlier) are created for a cast of 18 – I set chairs either side of the stage in the manner of Mike Alfreds’ Shared Experience productions. The clowns at the edges create special effects and music and are encouraged to show their individual reactions to the stage action as well and serve as chorus when needed.
A conflict is added by one clown whose personal vision is that they are making a documentary. It’s stupid, but serves to add pressure to the Intervention Clown, which will be useful later when we tie together the Classic Play action and the Clown Play denouement.

Therapist office – the speaking clowns are part of the couch.
Documentary Presenter Clown: Action! slaps hands like a clapperboard
Intervention Clown: What are you doing?
DPC: I’m making a documentary.
IC: reaffirming the overall mission Intervention!
DPC: Shh – Action! slap!
Hamlet: But that’s the whole point. I just can’t seem to get into action –
I can’t get any clarity … weighing with her hands
Mother, aunt, uncle, father, nephew, son …
To go back to uni, not to go back to uni …
Goddammit. I’m a Prince! But I’m a Prisoner.

The elevation of the inanimate

Clowns are underdogs so it it’s a great way to include marginalised or surprising thematic points of view (think of the lowly Porter in Macbeth giving his humorous take on the consequences of bad life choices). Much fun can be had by allowing normally voiceless, inanimate objects to get their say. Having made concrete the murder of the previous King, it was serendipitous that one clown elected, with enthusiasm, to play ‘The Poison!’.
We established a motif of the clown chorus singing the pop hit Toxic at salient points of the action. One of the essential ingredients of comedy is Contrast - in this instance, a huge classic text gets punctured with popular culture.
With a taste of your lips, I'm on a ride
You're toxic, I'm slippin' under
Taste of a poison paradise …
Repetition and running gags are a key part of Clown Dramaturgy – they are useful laughter nudges but can also underscore the issues of the clown play plot.

Enter Claudius and Gertrude from either side of the stage.
Claudius Clown: nice and slow I love your ears.
 
Gertrude Clown: These ears? show the audience, sexily
 
CC: heavily Ooooohhh look at the audience How I’d like to pour my words into your ears …
 
Poison Clown: Like you poured poison into her husband’s ears?
CC pushes her away with his hand on her face.
 
GC: Would you do it while I was lying down. taking a nap. in the garden? Each word slowly with pause, stepping in with each word, faster in the last three words.
 
PC: Oooh, like your husband was lying and taking a nap in the garden?
GC pushes her away, hand on face also.
 
CC: Oh , What a beautiful sister-in-law, I mean woman! you are!
 
PC: It’s because she points thumb to GC is the wife of your points thumb to CC dead brother.
CC does a threatening dab to PC and spins to evade her.
 
GC: And what a beautiful brother-in-law – I mean husband!
They feverishly approach.
CC: Wife
GC: Brother-in-law – man …
CC: Woman
GC: King
CC: Legal King
Poison Clown inserts herself and makes a weird noise.
They both put hands on PC’s face and push her away.
CC: I want to bury my big shovel in your grave.
GC: Aaaaaahhh, yes! Bury It, bury it, six foot deep!
 
Now the Ghost King (a clown covered in a milky transparent veil with the crown on the outside of it) comes in-between the lovers and they blindly kiss him, instead of each other. CC and GC ‘eeew’ and shudder and depart separately.
​
Back to Therapy set up
Therapist Clown: Writing. Interesting – your mother’s sexuality disturbs you.

One of the C-words: Concision
Concision helps in making a Hamlet adaptation that is dynamic.
Ophelia: Sweet Hamlet.
Hamlet: You’re a whore!
Ophelia: reacts I’m a virgin!
Hamlet: You’re spying for THEM!
You wear too much makeup!
Nunnery!
Ophelia sobs. Post hashtag Ophelia  runs in and hugs her.
PHTO: Toxic masculinity! To Hamlet: You’re toxic!
Clown chorus: With a taste of your lips, I'm on a ride
You're toxic, I'm slippin' under …

Incorporating skills and playing fast and loose with the text (yay, no living author, no copyright!)

As part of the preparation for devising, I gather a list of the group’s individual skills. One cast member could tap dance. We took lines from Polonius’s parting words to Laertes and used them to show his inadequate support of his daughter, Ophelia.
Ophelia: Daddy, something awful just happened. I need your advice!
Polonius: Of course! Act 1 Acene 3 – my big advice number!
He delivers the text with grace notes of tap dance. At one point, he finds himself inside the outline of the old King and worriedly steps out of it, flourishes and cartwheels off.

Other highlights include Clown elements of anachronism and moments of bathos.
​
The Therapist waxes lyrical about the delights of Denmark including the beer, the weed in Christiania and the statue of the Little Mermaid.
In the scene of the war with Norway, clowns are dotted about the stage engaged in inept hand to hand struggle (grunting) and lame sword fighting (ineffectual tap tap tap tapping).
The Therapist is driven mad by Hamlet’s constant prevaricating and lack of commitment and in a moment of high emotion, turns to the side of the performance space, pulls forward the seated Horatio’s hand and deliberately falls on the innocent, appalled Horatio’s tiny sword.
Documentary Presenter Clown: So much suffering.
 
The game of a scene
 
In the scene of Hamlet’s failed attempt to dispatch the praying Claudius, murderous intent is embodied by tiptoeing clowns (including, illogically, but poignantly, the Ghost King) wielding an arsenal of swords, axes and a plastic chainsaw. When Claudius spots them on their third Grandmother’s Footsteps attempt, they form into a crucifix statue (weapons radiating out like a halo from Christ’s head) and Claudius lamely leaves, apologising: ‘Sorry, Jesus.’
 
Rosencrantz and Guildenstern, the hapless friend/spies, enter with early Beatles-movie slapstick movements while the Benny Hill theme tune played on kazoos. Their text is a mix of Shakespeare and Stoppard.

Ros: You'd wake up dead for a start and then where would you be?
Dead in a box.

​A different Polonius-playing clown is dressed as Chaplin.
This Chaplin-Polonius pedantically mimes to an eye-rolling Gertrude that he will hide (which he does in full sight, in chameleon mode, in front of the black back drape). Hamlet and his mother have a rap battle and the subsequent stabbing generates a prolonged slapstick death scene.
(In our Clown Adaptation, the clowns are ’all hands on deck’ to step in to play any character needed in the moment. In clown logic, multiples are possible and in big casts, desirable).

Horatio is frequently accompanying Hamlet – a spare wheel, a helpless witness and a metaphor for unemployed valiant action. Although he’s not an official Dramatis Personnae in the text Act 3 Scene 4, the horrified Horatio is present to help drag the Chaplin/Polonius off. 

Amplifying the main Metaphor - Intervening the Intervention
​
The Post Hashtag Ophelia clown contributed the idea for a scene of multiple Ophelia’s, all seeing no hope and repeatedly killing themselves in various mimed ways (drowning, gas oven, pistol etc) while the ‘Post-Hashtag-MeToo’ PHT Ophelia tries desperately, attending to them all like so many spinning plates, to break the tragic pattern.
 
PHT Ophelia: I intervene! I am Ophelia.
The clowns are all seated on either side see an opportunity for a Spartacus moment.
Random Clown 1: I am Ophelia.
Random Clown 2: I am Ophelia.
Random Clown 3: I am Ophelia.
Random Clown 4: I am Ophelia.
Random Clown 5: I am Ophelia.
Horatio: holding high his tiny sword I’m Horatio!
 
PHTO: I am post-hashtag Ophelia. I smash the instruments of my imprisonment. I stand up for my rights. I defy my role as obedient daughter. I break free from the Lego-locked role of obedient daughter.*
 
Multiple Ophelia 1:  I am Ophelia. I drown in my own tears.  Cries and mimes water rising water and drowning.
PHTO: What? No! Don’t drown yourself!
 
Multiple Ophelia 2:  I am Ophelia – I put my head in the not-yet-invented gas oven. Mimes it and slumps to floor
PHTO: no!
 
Multiple Ophelia 3:  I am Ophelia cuts wrist and mimes fountaining blood.
PHTO: No. Don’t do that!
 
Multiple Ophelia 4:  I am Ophelia noose to neck, suspended, twisting.
PHTO: No don’t hang yourself. Snip! snips the mime rope and MO 4 falls Sorry.
 
Multiple Ophelia 5:  I am Ophelia mimes gun to head
PHTO: Give me that! to MO 1: Stop it! Learn to swim! to MO 2: Make a cake or something!

​
A change of scale



Transitions help concision and aid absurdity. And changing the scale and stage location of the action creates texture and depth. The Ophelias mime drowning in the rising tide of their own tears and swirl out to the chairs at the sides. Having established a body of water, a small folded boat appears. One clown begins to carry another on her back slowly across the stage.





​Sea Voyage Clown: Hamlet boards a boat to the UK. At first the weather was good and the sea calm. Then there was a storm (mime) lightning (mime) and rain (mime and boat rocks).
A whale (mime) spurt! Her face tilts either side of the paper boat’s tiny sails.
In a small voice: To be or not to be. Letters! The old switcheroo! ... Look, the white cliffs of Dover!
Boat moves, screeches to a halt like a car.
The King of England.
The Clown who plays Rosencrantz now sports a MacDonalds Happy Meal crown. He takes the boat, unfolds it and reads the letter.
King of UK: It shall be done.
Refolds and hands back. Sits.
Sea Voyage Clown: Goodbye Ros and Guil!
Ros and Gul Pop up and down like pistons on the mention of their own names, saying:
Ros: Dead
Guil: In a box. 

Weaving the metaphors together, serving the ensemble
 
There’s another intervention letter, this time read to Hamlet by Yorick. A couple of scenes later, when Laertes enters the Classic Play plot, the promise of violence rises. The clowns who, by nature, love play opportunities and picking up on the passionate voice of The Poison are enthusiastic about the idea of Revenge. Tensions arise between the majority and the original Intervention clown. The Documentary Presenter Clown pays lip service to ‘healing’ while callously standing in the middle of the crime scene body outline. ‘Oops.’
 
There was an ensemble member who had suggested that his clown could always be delivering lines from the wrong play. This was his moment, helping to accelerate and add chaos. It's a bit of silliness, but his text mistakes also echo the main characters' mistakes in judgement. 
 
Wrong Play Clown: Elizabeth Kubler-Ross: the stages of grief:  shock, denial, anger ..
Ghost King: Vengeance!
Wrong Play Clown: Vengeance!
Documentary Clown: Action! …  clap
Intervention clown:  Nooooooooooo.
 
Wrong Play Clown: Blow winds … Clown Chorus: Wrong play!
What light through yonder … Clown Chorus: Wrong play!  
Hey nonny nonny …  Clown Chorus: Wrong play!
 
Wrong Play Clown is nonplussed.
Claudius (swiftly at his shoulder): Kill Hamlet.
A number of clowns in the spirit of ‘Yes, lets!’ shout in unison: KILL HAMLET!!
 
Wrong Play Clown: A sword, a sword my kingdom for a sword! **
Several assorted weapons (from the Claudius praying scene) come in.
Various Clowns: Here, here, here, here, here!
Clown with Final sword: For your consideration!
Intervention Clown appearing through Wrong Play Clown’s legs: No no no! It doesn’t have to end this way.
All weapon bearing clowns: It’s a play - it has to end!
We see a quick setting up of the sword fight. The Poison rubs herself on the weapons, and Hamlet and Laertes tap tap tap lamely at the back. We see Gertrude killed by poison. Hamlet kills Claudius.
 
Wrong Play Clown: Try again, fail again, fail better. Clown Chorus: Wrong play!!
Documentary Clown: … and cut!
All clowns surge forward saying: Cut! Cut! Cut! Cut! Cut! as they, with weapons, attack Claudius and each other in slo-mo.
 
Documentary Presenter Clown: rising up from the pile of bodies It’s a wrap, everybody!
 
Curtain call as the Black Eyed Peas play, with the track starting at one minute in.

People killin', people dyin'
Children hurt, hear them cryin'
Can you practice what you preach
Or would you turn the other cheek?
Father, Father, Father, help us
Send some guidance from above
'Cause people got me, got me questionin'
Where is the love (love)
Where is the love? (The love)
Where is the love? (The love)
Where is the love? (The love)
Where is the love? (The love)
Where is the love? (The love)
Where is the love? (The love)
Where is the love, the love, the love?
 
END

Phew, that was a little long but then Hamlet is long – although our adaptation was a tight hour.
 
* Her text was inspired by Hamlet Machine, then edited back severely to serve the comic principle of Concision. Lego is mentioned because, hey, as well as being home to Hamlet, Denmark is also home to Lego.

** The chorused 'Wrong play!' omitted here so as to serve the immediacy of the rhythm of the five swords arriving - 1,2,3,4,5.
 
EXTRA NOTE:
A. I leaned on Hamlet in my 2002 show, Midriff. An excerpt:
“Will she say: Lately, I’ve been thinking about death. holding skull
Or will she say: Do you think I have good bone structure?
Isn’t this a great prop? look at skull
Alas poor Yorick, I knew him well ... a fellow of infinite jest.
Lately I have been thinking about death.
And Hamlet ... I’m almost obsessed with it -
Shakespeare’s story of Hamlet …
Possibly the acme of British literature -  
And it’s all about clumsiness and cowardice.
A noble tragedy with some very good black jokes.
It’s about someone who goes around acting like a trip idiot
while he tries to do the right thing
or cod actorly pose talks about doing the right thing.
It’s about the ability of actors to look at skull move their audience
And the uselessness of emotion
It’s about conscience and the courage of one’s convictions,
hesitation, procrastination, renunciation,
divided loyalty,
guilt and grief.
It’s a great big feat of language
which describes the failure of
words
words, words.”
 
B. The production described is Clown, but I discovered this quote is about Commedia dell’Arte. I find it relevant to ‘Fixing Hamlet’. 
 
'The irony is that humans are a disaster, but we can do nothing  about it, but there is a need at the end to 
forgive humanity ... Commedia is tragedy without catharsis. Somehow to me  Commedia is far more tragic than tragedy. In Classical Tragedy at  the end you have … the catharsis, you get purified… somehow you  get de‐responsibilised … all your sins are taken away … with  tragedy at the end you are purified, somehow, somehow … but for  me it is far more tragic admitting that humans are a disaster.'
(Iurressevitch, Appendix A, 2015: 91) – from Olly Crick’s PhD Thesis.

All images (except for the rehearsal snap) by Linda Carter.