PETER BROOK describes his Hamlet, running in the splendidly decrepit onetime music hall, the Theatre des Bouffes du Nord, as research into theatre. And, in truth, the effect is as of a workshop. Trinity educated Bruce Myers is one of a multi racial group of seven actors who work through the "best bits" of Hamlet, interwoven with essays on theatre's essence by Brecht, Artaud, Gordony Craig, Stanislavski, Meyerhold and Motikoyo. Craig talks of theatre created out of empty space, Meyerhold urges physical suppleness, Stanislavski seeks theatre so life like that it appears not to be theatre.
There is a white platform. The actors wear workshop clothes. Props are but a few chairs, a cloak, a hat. An actor asks "Qui est Ia'?" "Who is there?" the first line from Hamlet, and off we go, the essays split into several voices to form a dialogue between master and actor, each essay spilling seamlessly into a famous scene, seen in rehearsal and acted to the proposition of the preceding essay.
Presentation is ironic, intriguing, humorous in the style of a found workshop as the team follows Brook's search for his approach to Hamlet. For Brook, the quest is almost enough for the audience, a little more is required. However, if Brook follows his established pattern of directing productions twice, this reviewer will chance a return to the Bouffes du Nord in a year or two to see the finished product.
