Hamlet Revisited: 'A Counterfeit Presentment' in the Kronauer Space

For any student of English literature, an encounter with the Shakespeare is inevitable. His work has so permeated the consciousness of the literary world that it is difficult to view his story lines in new ways. However, one member of the freshman class, Jeremy R. Funke ’03, has attempted and achieved just that. His new play, A Counterfeit Presentment, challenges the traditional interpretation of one of Shakespeare’s most famous plays, Hamlet. Funke’s play is a blend of Hamlet’s original text (as well as Othello and King Lear) and his own semi-Elizabethan prose. Although it would seem like a tall order to even attempt to change Shakespeare’s masterpiece, the mixture of the old material and Funke’s new lines works well.

The new version of the tragedy is at first a bit confusing due to the plot’s completely different point of view. A Counterfeit Presentment is more the story of Horatio, one of Hamlet’s advisors, than anyone else. The play begins with Horatio wanting not only to tell Hamlet’s tale, but also to confess his own sins. It is here that Funke has incorporated a historical element in to the plot; Horatio tells his story to Saxo the Grammarian, the first writer to enter the real “Amleth” into the historical record through his book of Danish history.

After the initial scene between Horatio and Saxo, the audience sees Horatio conspire with the Player. He pays the Player to dress up as the ghost of Hamlet’s dead father and convince him of the treachery of Claudius, the new king of Denmark. Thus, Horatio becomes the driving force behind Hamlet’s suspicion and actions. Horatio soon reveals that he is the bastard son of Gertrude, and is jealous of his half-brother’s position of power and favor in the family. His ultimate goal is to see Hamlet into the throne so that he can become Hamlet’s principal advisor, and finally ascend into the limelight. The story proceeds from there.

A Counterfeit Presentment is very well executed and has many strong points. The actual dimensions of the Kronauer Space in the Adams House catacombs would make anyone question the use of the word “space.” The whole room is about 20 by 30 ft., with some additional room on the side of the seating area. The actors’ use of the space is admirable, and works extremely well within the context of the play. The minimal set focuses the viewer’s attention on the actors (who deliver excellent performances). At no point do the performers seem constrained by the dimensions of the stage, using the walls and side spaces cleverly.

Stephen J. Quinlan ’04 (Horatio), is believable and communicates well Horatio’s duplicity of character through his changes in expression and mannerism. Sarah L. Thomas ’04, (in several roles), is another asset to the production. Her portrayal of Ophelia is remarkable; during the scene in which Hamlet confronts Ophelia, she conveys fear and hysteria, while managing to shed some tears! Among her other roles, minor characters like Guildenstern and a sailor, Thomas’ impeccable timing and ability to express a flaky personality add to the comic relief incorporated into the play.

Indeed, the comic relief itself is another asset to A Counterfeit Presentment. Hamlet’s humorous scenes are made even better by the way that the actors present themselves. Expressions, costumes and mannerisms often elicit laughter from the audience and bring some levity to the tragic atmosphere. One especially entertaining scene involves Horatio and two sailors, who are the quintessential embodiments of pirates, even down to the traditional “Argh!” and piratical accent.

This counterfeit Hamlet is further strengthened by Funke’s additions and changes, making it interesting to see what would happen next. His coup de grace was definitely an altered version of the scene where Claudius is praying and confessing his sins and Hamlet is trying to decide whether to kill him then or wait. In Funke’s adaptation, both Horatio and Claudius are praying, confessing to similar sins. Though the text is very close to Shakespeare’s, Horatio and Claudius alternate lines and occasionally speak at the same time. The effect is both interesting and powerful.

It is often risky to attempt to change and alter a famous piece of literary work, especially Shakespeare’s, and the results are hit or miss. But if taking risks will result in plays like A Counterfeit Presentment then one can only hope that more people will take the chance.