July 2, 2009

BAD HAMLET at the Capital Fringe Festival

The Adequate Players present the World Premiere production of


Adapted and Produced by John Geoffrion
Directed by Sarah Denhardt
Stage Manager - AnnaLaura Wensel McKowen
Sound Design - Ian Armstrong
Fight Choreographer - Lorraine Ressegger

Hamlet (1603 Quarto) - John Robert Keena
Hamlet (1623 Folio) - Matt Volner
Ofelia/Leartes/Corambis - Ty Hallmark
Ophelia/Laertes/Gertrude - Anne Veal
King/Polonius/Ghost - Felipe Cabezas
Queen/Claudius/Player - Anne Nottage

The Bodega - at The Trading Post
1013 7th St NW, Washington DC, 20001
(Nearest Metro: Yellow or Green line to Mt Vernon Sq/Convention Ctr)
We apologize to patrons with disabilities, but the Bodega is not wheelchair accessible.

Saturday July 11 @ 11pm
Sunday July 12 @ 1:15pm
Friday July 17 @ 10:30pm
Sunday July 19 @ 4:45pm
Wednesday July 22 @ 7pm

This production presented as a part of the 2009 Capital Fringe Festival

$15.00 (patrons must also purchase a Fringe Button to see any Fringe shows)
Order here or call 866.811.4111

BAD HAMLET is an experimental performance piece that explores the similarities and differences between the two published versions of Shakespeare's Hamlet: the familiar version published in the 1623 Folio, and the unauthorized "Bad" Quarto published in 1603. The latter, a shorter, leaner, less poetic version of the story, has only recently been given its due. But simply to perform the Bad Quarto isn't enough: how do the two versions compare, complement or contrast with one another? Reading only gives the merest hint; Shakespeare’s plays were written to be performed, and thus we’ll take this literary comparison to the stage.

BAD HAMLET is a condensed, stereoscopic version of Hamlet in which the two texts are performed simultaneously; sometimes overlapping, sometimes in a Shakespearean 'tennis match,' with two Hamlets, two Ophelias, two Gertrudes, two Claudii, two Polonii, two Laerteses, and the Quarto's Player and Ghost, all under an hour, performed by a cast of six in a minimalist setting.

As a stereoscope takes two nearly similar photographs and combines them to create a 3D image, our goal, by simultaneously performing two versions of the same play, is for the subtle and not-so-subtle differences in the two texts to create a meta-Hamlet that provides additional depth and dimension to the emotions, motivations, and poetry of one of the greatest works of English literature.

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