For some reason I have only now come upon this post. Without re-entering the whole Hamlet’s-age question, a comment on Branagh’s to-be scene:

I agree that it’s done brilliantly, but for a different reason. It’s quite ambiguous in the texts whether Hamlet “knows” that Claudius and Polonius are there listening. (It can be staged so he sees them hide, without departing the text(s).) But he’s just come from unmasking R&G and devising the mousetrap–he’s at the height of his suspicions–and he was sent for by Claudius, so he’s sure gotta wonder.

I argue in my book (based on the insights of others) that the whole To be speech is played to Claudius, seeking to lull his suspicions.

Branagh uses the mirrors–Hamlet pointing the dagger at Claudius’s face while making it ambiguous whether Hamlet “knows” that Claudius is there–to brilliant effect, and perfectly in keeping with the ambiguous knowledge imparted by the texts. I’ve never seen another production that puts across the profound tension that’s inherent in the scene. Most productions/directors/actors don’t seem to know that there’s any tension there at all.

I’d love to send you a copy of the book, btw–finally out in paperback–in case you care to write about it.

Thanks!

Steve

I’m a huge fan of Branagh’s soliloquy scene as well, and the use of mirrors does frame the scene uniquely.

huzzah.