Firstly, it was sort of amazing being at the V&A after hours so to speak, it’s a beautiful museum anyway but there’s something special to feel like you’re exploring it in the dark and quiet and once the event kicked off it was equally amazing to hear it so filled with sound and to find people as excited as you about the theatre at every corner. I really love that more museums and art galleries are starting to events like this, I think it forces you to interact with them in different and more informal ways. Which for me, at least, feels like a good thing (then again I’m also the sort of person who always has to stop at the colouring table and finish a picture, complete with name and age – so you probably shouldn’t listen to me about anything).
There was so much going on, that it almost felt a shame to have to miss so much of it to go to the talks, but as enjoyed them both so much the feeling didn’t last long. First up we had Janet Suzman reading and talking about some sections from Antony and Cleopatra and Titus Andronicus. I really loved hearing her talk about the character of Cleopatra, which was especially emotional after the announcement of Elizabeth Taylor’s death not long before – she described her performance as a difficult shadow to stand in. She also read us the introduction to the Folio, which I had, somehow, never heard before:
"But it is not our province, who only gather his works, and give them you, to praise him. It is yours that read him. And there we hope, to your diverse capacities, you will find enough, both to draw, and hold you: for his wit can no more lie hid, then it could be lost. Read him, therefore; and again, and again: And if then you do not like him, surely you are in some manifest danger, not to understand him. And so we leave you to other of his Friends, whom if you need, can be your guides: if you need them not, you can lead your selves, and others. And such Readers we wish him.”
My favourite part of Janet Suzman’s masterclass, however, had to be watching her direct a young actor who’s name unfortunately I didn’t catch (though hopefully I will spot him in something in the future). He was performing one of Benedick’s speeches – I must admit, that I found it a bit odd at first as there was something Tennant-esque about him (it was a bit like seeing a sneak peak of this summer’s Much Ado) – but that soon wore off as it was utterly fascinating to see how relatively simple suggestions could utterly transform his performance. And a moment where he suddenly dried up in a moment of revelation was pretty magical.
After a short break we headed back into the rather beautiful lecture theatre to see Timothy and Sam West reading pieces from the Folio itself, including pieces from Henry IV and Hamlet (I can’t remember which unfortunately) – with some difficulty. As Sam (forgive the first names, too many Wests) explained you never know if its cafes or eaves and something he could have sworn said fate, actually meant sate. It was lovely to hear them reading and oddly sweet, especially when Sam had to help Tim out; plus their excitement at getting to turn a page was infectious.
After the readings, they answered a few questions from the audience. I found the discussion of how the plays have gained layers of history that have changed their impact really interesting. A good example was the gravediggers scene – which now is seen as a comic moment – they pointed out that originally this must have been horrifying moment for the audience, as they pointed out Hamlet is the only person in the theatre who doesn’t know the grave he’s playing in, is Ophelia’s.
Lastly, though I should save for prosperity my two favourite quotes, both of which Sam West was responsible for (excuse the paraphrasing). The first inspired by Romeo and Juliet – “If anyone ever riffs a sonnet with you, marry them! That’s like word sex.” And the second, which may have forever changed how I view Hamlet – “My dad’s dead and my mum’s married my uncle and I think I want to die. Can we talk?”
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