Not many plays have the illustrious honor of having been produced again and again for literal centuries, but few playwrights can boast as many as William Shakespeare. Even so, there is perhaps no work more popular by the Bard than Hamlet, The enduring tale of family, madness and Danish castles regarded for its complexity and universality. When Santa Fe’s Incite Shakespeare Company digs into such a ubiquitous piece, it’s worth taking a look. SFR spoke with actor Emily Rankin—who also serves as the artistic director for New Mexico Actors Lab—to discuss the iteration before the ISC production comes to a close. Rankin stars as the iconic prince for just a few more productions, and we wanted to learn more about her experience tackling one of fiction’s most influential roles. This interview has been edited for clarity and concision.
Shakespeare is well-trod territory. What were you and the rest of the ensemble looking to explore with this production?
This is such a creatively invigorating process for me personally, and I think for the ensemble too, in part because it's less focused on end product or result and much more focused on process. We're a directorless process, so the ensemble is driving what we do in rehearsal every day. It's a quick-raise process, so we jump in. For "Hamlet" in particular, we had four days of rehearsal and then opened. We're not setting blocking other than things that would be dangerous not to set, like intimate moments. Otherwise it's very loose and open, and so the show really changes every night. It forces you to really listen to the rest of the ensemble and to rely on the ensemble as your team, which is just a lovely way to work. Some of the team is using cue scripts, meaning they have only the three words that precede their own line, and then their own lines written down. It really forces you to listen and be present.
One of the best things about ISC is seeing shows multiple times, because audience members get to see how much it changes from show to show. Audiences are really primed for it to be sort of a set end product. In "Hamlet," we have Ariana [Karp] and Andrew [Codispoti] playing multiple roles and changing depending on the show. One night Ariana might be Guildenstern, and the next night she might be Rosencrantz, and we don't know until we hit that scene, which is really exciting. We really like to show our process. We like for folks to be able to see how we work and how we think.
The character of Hamlet arrives with centuries of baggage. What approach and priorities did you maintain in realizing the character?
It's a huge role, and it can be intimidating for anyone to play a role that's so well known, so I wanted to really let some of that go and just focus on who I think Hamlet is.. I see a lot of melancholy Hamlets out there, but I was really interested in the mania aspect of him too. He has these low lows and these high highs. I think he's predisposed to melancholy and mania, and then those get amped up as he puts on this madness.
I didn't want him to sink into despair because he has to. There's this idea we have of him as being melancholy and unable to act, and I don't see him that way at all. I think he's always trying to figure out what his next move should be. He's trying to figure out if the ghost of his father is real, if it's telling him the truth. He's constantly searching for the truth, and so I needed to have that engine under him. He can't just kill the king. He would be condemned for life. He has to figure out if this is true, and if so, how he can exact this revenge that he's been called upon by heaven to exact. For me, it always comes back to the truth of him. If I feel truthful in the moment, then I consider it to be a success.
That's why it's lovely to do a stripped-down production like this. We have an eight-person cast. We're in the round in the Actors Lab, so a black box, very minimal set, props and costumes and just the essence of telling the story together as an ensemble.
Incite Shakespeare Company promo calls this quick and dirty format “modern original practice.” What does that look like in execution?
ISC is really interested in bringing these stories to life for audiences who are new to Shakespeare or have seen hundreds of Shakespeare plays, and they're really interested in certain kinds of original practice. That's why they're doing the quick-raise process. We know that Shakespeare would have also raised his plays very quickly, and then would perform them with his company for many years after that. ISC is part of a loosely organized group of theaters doing what they call modern original practice.
It's [original practice] with a modern twist. That's part of why we don't set specific blocking, because in order to get a play up that fast, you really can't focus on blocking. You have to focus on the relationships between the characters instead. We have things like what we call plats, a run of show that's taped up all around the space so that we can check where we are in the story if we get lost, and we have somebody on book at all times just in case we need to call for a line. We also experiment a little bit with original pronunciation, which is how English would have sounded in London in the 1600s, and there are certain aspects of that in "Hamlet."
Because we have no set blocking, the show really changes and morphs to whatever space it's living in. We've got one show at Meow Wolf on their main stage, and then one more weekend at the lab after that. It's nice with "Hamlet" in particular, because I think it's a play where you can really second guess yourself and your own choices if given too much time. It's nice to just sort of be thrown in and have to listen and be present with people.
Hamlet
8 pm Wednesday, July 29. $43.82. Meow Wolf, 1352 Rufina Circle., (866) 636-9969
7:30 pm Friday, July 31 and Saturday, August 1; 2:30 pm Sunday, August 2. $35 suggested donation. New Mexico Actors Lab, 1213 Parkway Drive B, (505) 395-6576