WILLIAM SHAKESPEARE'S · For the gravediggers, burlap sack type tunic blouses ,can be used with...

WILLIAM SHAKESPEARE'S

HAMLET

One-Act Adaptation

by ALBERT PIA

THE DRAMATIC PU BLISH I NG COMPANY

© The Dramatic Publishing Company, Woodstock, Illinois

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"Produced by special arrangement withTHE DRAMATIC PUBLISHING COMPANY ofWoodstoe~Dlinois"

~MCMLXXII byTHE DRAMATIC PUBUSHING COMPANY

Copyright renewed ©MMPrinted in the United States of America

AU Rights Reserved(HAMLET)

ISBN 0-87129-344-7


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HAMLET

A Play in One Act

For F'ifteen Men, Four Women, Extras(E ight Men, Two Women with Doubling)*

CHARACTERS

HAMLE T .. II • • • • • • • • • • • .. • • • •• Prince of DenmarkHORATIO •• II G /I 0 .. 9 •• Q .. L friend to HamletKrnG .. II II 0. II Q .. • • Hamlet's uncleQUEEN II II /I .. Q " Hamlet's motherGHOST .. 0 0 II • • .. .. oj Hamlet's fatherPOLONllJS .. l' .. m .. a • ., e It • lord chamberlainLAERTES .. /I II \I " son to PoloniusOPHELIA .... ~ . B .. Q & /I aaughter to PoloniusROSENCRANTZ fOrmer schoolmates oj HamletGUilJDENSTERNpLAYER KINGpLAYER QUEEN, , .LUC!ANUSBERNARDOMARCELLUSGRAVE DIGGER wtJ'Yk·menASSlSTANT • 'l;l • .. • Q • IS •• 0 IS .. • • •

OSRIC to •• 0 5 II a courtier

Court Ladies and Gentlemen. Guards, Attendants_Messe~gers, Players, Pri'est, Casket Bearers~as desired.

*All but leading roles may be doubled.

3


CHART OF STAGE POSITIONS

~"L.Ci""S

STAGE P(k)?rIONS

Upstage means away from the footlights, downstage means toward the footlightss and right andleft are used withreference to the actor as he facestheaudience.. Rmeansright. L means left, U meansup, D means down~ C means center, and these abbreviations are used. in combination, as: UR for upright. R C for right center~ D Lefor down left center, etc. A territory designated on the stage refersto a general area, rather than to a given point..

NOl'E: Before starting rehearsals, chalk offyour stage or rehearsal space as indicated above inthe Chari of Stage Positions. Then teac·h your actors the meanings and positions of these fundamental terms of stage movement. by baving them walkfrom one position to another until they are familiarwith them. The use of these abbreviated terms indirectingthe play saves time, speeds up rehearsals,and reduces the amount of explanation the directorhas to give to his actors.


STAGThIG

The stage and forestage areas are to be used fullyand may be divided into seven playing areas .. AreaOne 1s upstage center; Area Two is just below th-isup right;Area Three is also below A-rea .One and upleft; Area Four is stage right; Area Five is stageleft; Area Six is stage center and largest playingarea; Area Seven is forestage or orchestrapilareain auditorium..

Should elevations be available, the follOWing suggestion is a functional arrangement. Number oneplatform is across the back of the stage-and up center at the highest level and with ramps leading offright (ramp A) and left (ramp B). steps will leadfrom platform down to stage levelatcenter•.Slightly below this first level are platforms up right,number two, and up left, number three J each leading off to wings. The·yare separated at center bythe steps mentioned above.. Slightly below this see-and level of platforms are platform right, numberfour, and platform left, number five, which aresmaller in dimension and each leading off intowings. They are separated at center by stagesurface Area Number Six, the large.st playing area.Before the stage and a step below the surface level is another platform, number seven,with rampsleading right (ramp C) and left (ramp D). A :removable trapdoor is -lo·cated in center of platform. to beused for grave opening.

A table and two- chairs are used downs·tage rightin Area Six for King and Queen. They are movedto upstage center ofAreaSlx forfil1.al scene. \Acb.airfor the King and Queen Gertrude can -be placed inArea Two. A chair for Ophelia can- be placed in AreaThree and for Polonius in Area Four. Two s.mallstools can be brought in for Laertes and Hamletbefore final duel scene.


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HAMLET

Platform Stage(if available)


COSTUMES

It is recommended that costumes remain simple indesign. This production has been ve~y su·ccessfulin modern dress. However, an appealing ~ugges

tion would be for females to wear long gowns:-- anafor males to wear tights and loose, hip-lengthblouses. Ballet type slippers are excellent for allactors o If desired, males may use capes, andolder characters may use floor-length robes. Awhite, loose-fitting robe may be suitable for theghost. For the gravediggers, burlap sack typetunic blouses ,can be used with rope belts tied atthe waist. Burlap can also be wrapped aroundlower legs and feet. Brown tights are also worn.


PROPERTIES

GENERAL: Platform, ramps, steps, table andtwo chairs (see notes on staging, page,r53).Scene Eight: Other chairs. Scene Thirteen:Two small stools, table, chairs, foils and cupsof wine on table.

BERNARDO and MARCELLUS: Pikes.HORATIO: Sword.POLONIUS: Portfolio containing letter, eyeglasses

(Scene 6).HAMLET: Book (Scene 7); locket (Scene 9); papers

(Scene 13).OPHE LIA.: Prayer book, locket (Scene 7).QUEEN: Locket (Scene 9); flower (Scene 12); nap-

kin (Scene 13).hllESSENGERS: Sealed letters.GRA.VEDIGGER: Lantern, skull (in ttgrave tt

).

ASSlSTANT: Shovel, axe.KING: Two large pearls (Scene 13).LUC!ANUS (A PLAYER): Vial.OTHER PLAYERS: Props, scripts, etc.; small

bench and other set pieces; banner readingtfTHE MOUSETRAP. f'


HAMLET

Scene I

(The play opens at a sentry post of Elsinore castle.It is a cold, dark night. There is an atmosphereof watchfulness and suspicion bordering on fear,which sets the tone of the event about to unfold.BERNARDOis pacing slowly at sentry post URCin Area One. )

BERNARDO (comes to sudden halt, lowers pike,calls loudly). Who's there?

fE·NTER HORATIO and MARag1.sLUS from UL,ramp B.)

HORATIO (to Area One, with MARCELLUS).Friends to this ground!

BERNARDO. Is Horatio there?HORATIO (good-naturedly, as he approaches). A

piece of him.BERNARDO (relieved, putting up his pike). Wel

come, Horatio; welcome, good Marcellus!HORATIO. What, has this thine: appeared again to

night?BERNARDO (referring to ghost of Old King Hamlet).

I have seen nothing.MARCELLUS (at left of HORl\TIO). Horatio says

'tis but our fantasy--(HORATIO laughs. )--thisdreaded sight, twice seen of us; therefore Ihave asked him along with us to watch this night,

5


Hamlet

that if again this apparition come, he may speak.to it.

HORATIO (skeptically, as he steps toward L) ..'Twill not appear ..

BERNARDO (stepping toward HORATIO, speakingconvincingly). Last night of all, when yondstar--(Pointing up to sky. )-~that's westwardfrom the pole had made its course .to light thatpart of heaven where now it burns--(Mountingexcitement. )--l\,1arcellus and myseJi .. a ..

(His speech is halted by a distant bell which intoneslow and mournfully. ENTER the GHOST of OldHamlet~ slowly, from UR. NOTE: He may bedressed in flowing white robes, with beardedface. A special spotlight may highlight his appearance .from overhead.. An ultra-v~olet lightmay be used to create a glowing effect in thenighttime atmosphere o His voice may be amplified with microphone, throat type or attached toinner garments.. Many methods have been effectively employed by imaginative directors. )

MARCELLUS (at left of HORATIO, is first to spyGHOST; fearfully).. Peace! Break thee off!Look where it comes again!

BERNARDO (spinning about fearfully, then backinga step toward L).. Like the king that's dead!

MARCELLUS (believing that Horatio's considerable education qualifies him to speak to spirits;urgently). Speak to it, Horatio! (BERNARDOmoves behind HORATIO.)

HORATIO (dumbfounded; then, drawing sword).What art thou that usurp'st this time of night?(He holds his ground. Then speaks more strongly.) By heaven, I charge thee, speak I (GHOSTbegins to move slowly R toward exit. HORATIOsteps toward GHOST.) 8ta,r I charge thee,speak! (EXIT GH9ST off R. )


Hamlet Page 7

MARCELLUS. tTis gone!BERNARDO. How now, Horatiot Is this not some

thing more than fantasy?HORATIO (ending his skepticism). 'Tis strange!MARCELLUS. Thus twice before hath he gone by

our watch.HORATIO (at ULe, with BERNARDO and MARCEL

LUS on either side of him). This bodes somestrange eruption to our state. (Pause briefly.)Break we our watch up; and let us impart whatwe have seen tonight Wlto young Hamlet; for J

upon my life, this spirit, dumb to us, will speakto him. (EXIT ALL UL. )

End Scene

Scene 2

(The scene takes place the following day in theroom of state in the castle. The entire stageis used. A flourish of trumpe~s is heard tointroduce the entrance of the new King Claudiusand Queen Gertrude. All lights come up to fulllevel to brighten all stage areas. ENTER courtLADIES and GENTLEMEN from all offstage positions, including auditorium, if deslred.. Theyare in a gay mood, bowing and chatting witheach other as they move across stage into positions in all areas. KING and QUEEN ENTERup ramp A to Area One, then doWlil steps to cas they nod to court, smilli.ngly, tltlen cross toclown right of Area SiX to chairs. POLONIUS ENTERS DR and joins the,m. ENTE·R LAERTESULC; he stands ULC in Area Six. ENTER HAMLET, sad and preoccupied, DL; he sits on edge


PageS Hamlet

of Platfo·rm Number Five.)

KING (solemnly but with confidence, for his marriage to Queen Gertrude was-advised by hischief counselors soon after death of Old Hamlet). Though- yet of Old Hamlet, my dear brother's death, the memory be green, and that it mebefitted to bear my heart in grief, yet so far hathdiscretion fought with nature, therefore my sometime sister, now my queen--(Tenderly takinghand of QUEEN GERTRUDE sitting chair R. )-have I taken to wife. (He then turns to court.)Nor have we herein barred your better Wisdoms,which have freely gone with this affair alongAFor all, our thanks. (All bow. KING smilinglyacknowledges all, then glances at HAMLET whoremains sadly quiet DL, then turns his glanceto LAERTESII) And now~ Laertes, what's thenews with you? (Warmly smiling.)

LAERTES (crossing down and bowing before theKIN'G). Your gracious leave to return to France.

KING. Have you your father's leave? (Turns DRto POLONnJS.) What says Polonius? (Smilingfondly at his chief advisor. )

POLONIUS. I do beseech you give him leav~ to go,my lord.

KING" (placing hand gently on LAERTES). Takethy fair hour, Laertes. Time be thine. (LAERTES ri-ses and backs away to for'mer position.KING then directs attention to HAMLET.) Butnow, my cousin, Hamlet, and my son ....

HAMLET (aside; a pun on the word" t'kind, tI per-taining to ttkindredtl

). A little more than kin,and Iess than kind!

KING (not hearing the pun, continuing in a gentlemanner). How is it that the clouds still hangon you?


Hamlet Page 9

HAMLET (turning to KING, without suspicion ofevil deed, again a pun on the words ftson" andtfsunff). Not so, my lord. I am too much in thesun.

QUEEN (rising and exhibiting sincere motherlyconcern). Good Hamlet, tbou know'st 'tis common; all that lives must die.

HAMLET. Ay, madam, it is common.QUEEN. If it be, why seems it so particular with

thee?HAMLET (picking up her use of the word 1iseems, ,·f

he stresses his mourning to be no outward show,but sincere). HSeems, if madam? Nay, it iso Iknow not Hseems. tt -'

KlNG (gently upbraiding; moves slowly towardHAMLET). Hamlet, pray you throw to earththis Wlprevailing woe, and think of me as of afather, for let the world take note, you are themost immediate to my throne 4 '""''"""-

QUEEN (crossing to HAMLET, she passes to leftof the KING). Let nor thy mother lose herprayers, Hamlet. I pray thee stay with us, gonot to Wittenberg [Hamlet's college]. (Shereaches for him, but he rises, but not offensively. and steps L. )

HAMLET. I shall in all my best obey you, madam.KING (crossing to QUEEN at his lett). Why, 'tis

a loving and a fair reply. (Relieved, he takesher arm te·nderly and turns to exit UC.) Madam,come. (COURT lVIEMBERS bow 00- KING andQUEEN and HAMLET. EXIT ALL/using alleXits] but HAMLET D )

HAMLET (sadly and despair~gly). Oh that thistoo, too solid[sulliedj flesh would melt, thawand resolve itself into a dew! Or that the Everlasting had not fix'd His canon tgainst se·lfslaughter! 0 God! 0 God! How weary, stale,


Hamlet

flat and unprofitable seem to me all the uses ofthis world! (Mounting vehemence .. ) Fie on't!Oh, fie! ttis an unweeded garden, that grows toseed; things rank and gross in nature possess itmerely. (Crosses slowly to R toward table. )That it should come to this! (Indicating kingtschair and table.) But tW()months dead! Nay,not so much, not two: So excellent a king, thatwas, to thisJ:· Hyperion to a satyr; so loving to mymother that he might not permit the winds ofheaven--(Tenderly.. )--visit her face too roughly.(Distractedly, he moves to queents chair and thensitSD) Heaven and earth! Must I reme-mber?Why, she would hang on him, as if increase ofappetite had grown by what it fed on; and yet-(Increasing bitterness. )--within a month. . .Let me not think on't. . . Frailty, thy name iswoman! (Rises. Reaching emotional peak as hecondemns mother and all women, he moves slowly DR, then across to L.. Incredulously.) A little month, or ere those shoes were old with whichshe follow'd my poor father's body, like Niobe,all tears--why, she, even she-----(Anguished. )o God! A beast, that wants discourse -of reason,would have mourned longer----married with myuncle f (Painfully and unbelievingly_) My fa~s brother ••• but no more like my fatherthan I to Hercules. (Tumultuously.) Within amonthl Ere yet the salt of most unrighteoustears had left the flushing of inflamed eyes, shemarried! Dh, most wicked speed, to post Withsuch dexterity to incestuous sheets! (He crossesR and sits wearily in chair.) It is not no-r it cannot come to good: (Softly and hopelessly.) Butbreak my heart, for I must hold my tongue ..

(ENTER BORATIO t MARCELLUS, BERNARDO fromtJR.)


Page II

HORATIO (tentatively, sensing intrusion on privacy).. Hail to your lordship.

HAMLET (starting out DR without looking up;catching himself and turning as he recognizesvoice). Horatio! (He moves quickly to HORATIO at C.) Marcellus! Bernardo! (He movesto each and shakes their hands.. )

HORATIO (joined by others).. My good lord!HAMLET. But what makes you from Wittenberg?HORATIO. My lord, I came to see your fatherts

fWleral.HAMLET (moving toward R and sitting on edge of

table downstage). I think it was to see my mother's wedding.

HORATIO (crossing to Hamlet's left; sympathetically) a Indeed, my lord, it followed hard upon ..

HAMLETa Would I had met my dearest foe in heaven or ever I had seen that day, Horatio! (Looksupward as if seeing an image .. ) My father--methinks I see my father. (Crosses La )

HORATIO (startled, moving toward HAMLET).Where, my lord?

HAMLET (confounded by Horatio's abrupt response). In my mind's eye, Horatio.

HORATIO (relieved; quietly). My lord, I think Isaw him yesterday.

HAMLET (pause; then sharply). Saw? . lo Who?HORATIOo My lord, the king your father. (He

moves closer to HAMLET as BERNARDO andMARCELLUS move in.)

HAMLET (astounded). Let me hear!HORATIO. Two nights together had these gentle

men encountered a figure like your father. AndI with them last night kept the watch where theapparition comes. I knew your father.

HAMLET (turning to his left; thoughtfully). Thistroubles me. (He turns quickly to HORATIO a_e


Hamlet

plan forms.) Hold you the watch tonight?HORATIO, BERN"ARDO and MARCELLUS" We do,

my lord.HAMLET. I will watch tonight! Perchance 'twill

walk again! (Decisively.) Upon the platformttwixt eleven and twelve I'll visit you. (Heplaces hand warmly on Horatiots arm to dismissthem" )

HORATIO, BERNARDO and MARCELLUS. Ourduty to your honor. (They nod farewell andEXIT R.)

HAMLET (crossing slowly downstage, deep inthought). My father's spirit--indeed? All isnot well! I guess some foul play. (Looks upWleasily.) Would the night were come·! (EXITquickly DL.)

End Scene

Scene 3

(Lights come up in a room in the house of Polonius,platform Area Three" ENTER LAERTES witharm around waist of OPHE LIA, from UL intoArea Three, where they pause. They have the.buoyancy of youth as the scene progresses lightly and vibrantly" )

LAERTES. My necessaries a.re embarked. Farewell! (Embraces her.) And, sister, for Hamlet, ,perhaps he loves you nowJ but you must·fear, his will is not his own. Fear it, my dearsister--(Teasingly, as they move to center stepsand sit. )--and. keep you in the rear of your af.fection) out of the shot and danger-of desire.tHe is left·of 'OPHELIA.)


Hamlet Page 13

OPHE LIA (smiling, lovingly). I shall this goodlesson keep, but my good brother, do not showme the thorny way to heaven while himself-(Teasing playfully. )--the primrose path of dalliance treads and follows not his own advice.(They laugh together. )

(ENTER POLONIUS hurriedly from UL Area Thre~'V)

POLONIUS. Yet here, Laertes? Aboard, aboard.for shame! (LAERTES and OPHELIA rise.)There; my blessing with thee. (Hands to Laertes' shouldersA) And the·se few precepts in thymemory keep. Give thy -thoughts no tongueABe thou familiar, but by no means vulgar..(Cro~ses DL.) Those friends thou hast, graDpIe them unto thy soul with hoops of steel.(Knowing he has a captured audience, he movesabout.) Beware of entrance to a quarrel; butbeing in, be'ar't that the opposed may bewareof thee. (Facing LAERTES.) Give every manthine ear, but few thy voice; coati}., thy habit-(He lighUy fingers Laertes' cape or blouse. )-as thy purse can buy, but not expresse'd in fancy; rich, not gaudy, for the apparel of.~ proclaims the man. . • Neither a borrower nor alender be. (Looking now at each of them.) Thisabove all:. to thine own self be true, and it mustfollow as the night the day, thou canst not thenbe false to any man. (Be embraces LAERTESlovingly.) Farewell. My blessing season thisin thee"!

LAERTES (embracing POLONIUS and then OPHELIA). My lord. Farewell, Ophelia. (He "R8Jles up stairs C.) Remember well what I -havesaid to you.l '-EXIT LAERTES, waving and_ hurrying out UL.. )


Hamlet

OPHELIA (moving UC, shouting and waving farewell) 0 'Tis in my memory locked! Farewell!

POLONIUS.. What istt, Ophelia, he hath said toyou? (Crossing to her. )

OPHELIA. So please you, something touching theLord Hamlet.

POLONnJS6 'Tis told me he hath very oft givenprivate time to you.

OPHELIA8 He hath, my lord, made many tendersof his affection to me.

POLONIUS (moving from her toward platform AreaThree). Affe-ction? Pooh! Tender yourselfmore dearly, or youllil tender me a fool.

OPHELIA (following POLONIDS obediently, appealing for understanding). My lord, he hathimportuned me with love in honorable fashionG

POLONIUS. Ophelia, do not believe his vows.(Firmly, as he faces her.) This is for all: Iwould not from this time forth have you givewords or talk with the Lord Hamlet. Look to't,I charge you! (He turns L and EXITS.)

OPHELIA (she is crushed, but will comply). Ishall obey, my lord. (EXIT OPHELIA, slowly.)

End Scene


WILLIAM SHAKESPEARE'S · For the gravediggers, burlap sack type tunic blouses ,can be used with...

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