Ophelia

A flash banner.

In the Globe Theatre Company's production of Hamlet, Ophelia was played by Penny Layden.

About Penny Layden

Penny has appeared in productions for the Bristol Old Vic, the Young Vic, and the New Victoria, Stoke. She has also spent a season with the RSC, where she appeared in productions of The Tempest and Measure for Measure.

Click on the numbered links to follow Penny's journey as she creates and plays the character of Ophelia in the Globe Theatre.

Penny Layden - Character Notes 1

These comments are the actor's thoughts or ideas about the part as s/he goes through the rehearsal process-they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

This first week we have been going through the play with a fine-tooth comb to really understand it. This is the time to look stupid-not when we're on stage.

It's easy to feel pressure in the rehearsal room, especially when you're playing Shakespeare. You feel you're supposed to have all sorts of literary knowledge-but this is rubbish, because not everyone can know that much. Some people are good at reading history books that connect with the dramas. I personally am not very good at that, but I am very inquisitive and I don't worry about looking daft because of it. I'm asking a lot of questions-for sense, for story, for character.

Today we read the 'nunnery' scene (Act III, Scene 1). The first question I had was, does Ophelia know that Polonius and Claudius are planning to spy on her and Hamlet? We decided that no, she does not. I was very pleased about that because if Ophelia were part of that plot she would be a very different character.

To me, Ophelia is innocent. She is like a lonely beacon. It makes sense that she and Hamlet are together, that Hamlet is attracted to the light and hope about her.

Ophelia is like Miranda in The Tempest and Perdita in The Winter's Tale, two characters I've played before. These characters represent hope. Sometimes this hope is fulfilled, like in The Tempest and The Winter's Tale, where everyone lives happily ever after. In Hamlet this hope is dashed-and it has huge consequences for the character of Hamlet.

I think Ophelia is a victim of the circumstances, but I don't want the audience to see her as just a victim, as being quite weak. During my audition I was asked how I would describe Ophelia. I said I felt she is 'buffeted'-pushed around and manipulated by so many people in so many different ways. She's reactive, because she seems to be put into situations. She's not proactive until she goes mad and this is clearly not a very positive kind of proactive behaviour.

I'm incredibly scared by her madness. We've all seen madness played badly, and I'm terrified of falling into that trap. I want to find her truth. Unfortunately, much of her story takes place off stage. I want to somehow make that story tangible on stage. I don't know how I'm going to accomplish that.

How the other actors play their characters will affect how I play mine. For example, James (Hayes, who plays Polonius) has to decide how much Polonius knew-whether he knew about the affair between Gertrude and Claudius or the murder of Hamlet's father. He has to decide why he manipulates Ophelia. How Polonius treats Ophelia will affect how I play her. I have to work with my partners, the other actors.

Activities for Students

You might like to think about some of the questions and issues that have been occupying Penny during the first weeks of rehearsal. Because the company has been reading the play during these first weeks, the activities this time are mostly theoretical in nature.

The company has taken the decision that Ophelia does not know that Claudius and Polonius are planning to spy on her and Hamlet in the nunnery scene. (See notes) Do you agree with this decision? How does it effect the character of Ophelia if she is aware of Claudius and Polonius' prescience?
Penny says she is 'incredibly scared' by Ophelia's madness. How can Penny play Ophelia's madness in way that is convincing and 'truthful' Send your ideas and advice to Penny.
Much of Ophelia's story takes place off stage and is never seen by the audience. Improvise a scene from Ophelia's life that off stage. What do you learn about her from this improvisation. Send your discoveries to Penny.
Penny described Ophelia as being 'buffeted' and being a 'lonely beacon'. What words would you use to describe Ophelia? Support your answer using relevant passages from the text of the play.
Give reasons for all of your answers. Try to find evidence in the text to 'back up' your ideas.

Back to top

Penny Layden - Character Notes 2

These comments are the actor's thoughts or ideas about the part as s/he goes through the rehearsal process-they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

This week we have been up on our feet, trying things out in lots of different ways. I have found myself constantly asking questions. I have to keep reminding myself that it's okay not to have all the answers yet, as it's very early days. It's good to keep asking the questions though, at this stage.

Through standing up and trying things out I have made some interesting discoveries. When first approaching a scene the natural thing to do is to approach it instinctively, however Giles (Block, director) has pointed out that it is almost always possible to play the same scene in a way which is the opposite of that first instinct. An example of this is the scene where Ophelia goes to Polonius to explain that Hamlet has just come into her, "…his doublet all unbraced, No hat upon his head, his stockings fouled.." (Act 2 scene 1). Instinctively you want to play this scene as though Ophelia is petrified. But Giles suggested that at the scene could equally be played as if Hamlet's visit was wonderful for Ophelia, she was, after all, in love with him. The second approach to this scene proves to an audience that Ophelia really loves Hamlet which otherwise might not be so clear. We're also trying to show the audience the depth of their relationship in other ways e.g. by putting them into the same space a lot, not only when they're speaking to each other, but in between scenes as well. If Ophelia is the last person to leave a scene and Hamlet is the first person to enter the next, there is a moment when they are seen together. We are trying to make as many links between them as possible. This is also very useful for me as it charts Ophelia's journey through the play. It therefore helps the audience as well. It's my job to make Ophelia's journey clear for the audience.

I have also discovered that Ophelia is almost like a scientist in the way that she describes things. She always uses the most incredible detail. When she describes Hamlet to Polonius in Act 2 Scene 1, she describes every action and every look he made, so vividly and clearly. This is a huge clue to her character. Once you learn these things, you can begin to flesh out the skeleton for yourself.

I have been working on Ophelia's songs with Claire (van Kampen, director of theatre music). I haven't been performing the songs yet, just thinking about ideas. Claire wanted me to tell her what I think about Ophelia, what my thoughts are about who she is and what she represents, as well as my approach to her character. Claire needs to know all this so that she can make the songs as personal to me as possible. We have agreed on folk music for the songs, rather than a more classical Elizabethan approach.

There is very little history in the play about Ophelia, e.g. we do not know why she has no mother. I have decided that she died giving birth to Ophelia who was then brought up by wet nurses, perhaps out in the country rather than at court. These nurses may have sung to her and these are the songs that she sings, in her madness, in order to comfort herself. Although the above are simply my ideas it is helpful for me to create a 'back history' for Ophelia.

Activities for Students

Act 2 Scene 1

Look again at Penny's notes where she discusses her thoughts on Act 2 Scene 1. Should Ophelia be pleased about Hamlet's visit or terrified? In pairs try acting a section of this scene exploring how it feels to play these moments as if Ophelia is a) terrified and b) delighted. Which emotion or reaction do you believe to be most appropriate? Send your ideas to Penny.
Back History

Penny has been trying to create a back history for Ophelia (in other words Ophelia's life before the play begins). Look again at Penny's notes where she outlines her ideas. Do you agree with Penny? Create your own back history for Ophelia. Improvise a scene from her life before the action of the play and send your ideas or discoveries to Penny.

Where possible try to find evidence in the text to 'back up' your ideas.

Back to top

Penny Layden - Character Notes 3

These comments are the actor's thoughts or ideas about the part as s/he goes through the rehearsal process-they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

We had a very interesting time at our rehearsal weekend in Otley. We spent the first day improvising scenes that happen before the play begins. It was fantastically useful. We went through things in order, and I am beginning to understand why it is that Ophelia goes mad. I have experienced the chain of events in sequence that Ophelia goes through and have seen how quickly one thing happens after another.

I have started to look at Ophelia’s history in the play. The first thing we improvised was a familiar scene for Ophelia, which was the first time she and Polonius had helped Laertes pack his things ready to go to university. Really we were just building up the relationship within the family. It began to make it real for us.

I wrote Ophelia’s journal for a few days. I did this because there are so many times where she is sent to her chamber. I began to see how isolated she is at court and how lonely she must have been feeling. I think that this could be one of the reasons she goes mad. She becomes an orphan and therefore totally alone.

Unfortunately we didn’t get a chance over the weekend to look at my relationship with Hamlet before the play begins– the good old days. The first improvisation that Hamlet and I did was after the election of Claudius. He came to my room and said that he’d been having terrible dreams about his father and to ask me whether I thought about my mother. I was trying to console him. It was very gentle and intimate. Then he was called away to speak to the Queen. I began to write in my journal again and suddenly I could hear Hamlet shouting below me, and I had no idea what was going on.

It was very interesting because all the improvisations were happening simultaneously. This meant that you really did get the feeling of being at court and that lots of things were happening that didn’t always involve you. I began to see that Ophelia is always on the outskirts, but that she hears and sees things, although she never finds out what has been happening until after it is over.

It wasn’t until the second day at Otley that I began to feel exactly what Ophelia goes through. I began to feel how quickly things happen to her and around her. I began to get upset at the idea that Hamlet was thinking bad thoughts about me. I felt her confusion. I was worried about what he was up to. Later I was looking out of my window trying to see what was going on. I saw Hamlet with lots of bags covered in red and I could see people chasing him. I ran downstairs and by the time I had got there Horatio was the only person left and he had to tell me that Hamlet had killed my father. This was a lucky coincidence, as it explains why Horatio cares for me after Polonius’ death.

It was a very difficult week, but going through all the emotions was what made it a success for me.

Back to top

Penny Layden - Character Notes 4

These comments are the actor's thoughts or ideas about the part as s/he goes through the rehearsal process-they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

We have started to use the stage to rehearse. It hasn’t felt as different as I thought it might feel, I think because I have been in and out of the theatre a lot in recent months. I’m sure that it will be extremely different once it is filled with people. I’m looking forward to being able to use them to direct some of my lines to.

I had a bit of a dilemma last week with the nunnery scene. We were trying to decide whether or not Ophelia knows everything that has happened. Previously we’d decided that she didn’t. But in rehearsal it began to seem as though she did. It’s a positive change. If she knows what’s happened, then she is going to Hamlet to help him. But, having said that, it just doesn’t feel right. When you’ve made decisions and suddenly they are changed, it can be very difficult. You have to think about how that changes everything, including much of the work we did at Otley. But I spoke to Giles (Block) who is as keen on the idea that she doesn’t know much, as I am, so nothing has been completely decided yet.

We did a run thorough this week, which turned out to be extremely long. But we could see that things are beginning to come together. There are still loads of decisions to be made. We had a good rehearsal of the mad scene. We discussed a lot, particularly about who needs to know the meaning of the songs I’m singing. We think that only I do. I found that discussion very useful. The first song is the hardest one, because I go straight into it. It didn’t work yesterday because I hadn’t thought about it enough. I need to think about why I come in. Why I need to see the queen. There are lots of choices I could make there. I could be going to see her to find out what’s going on with Hamlet. To ask why Hamlet killed my father. I might be there because I need a mother figure. I need to come in with a very clear intention. I still haven’t made a decision.

Back to top

Penny Layden - Character Notes 5

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

I’m finding that its becoming more and more difficult to be objective about the play. This always tends to happen to me as rehearsals come to an end. I’ve really enjoyed this week as we’ve been pulling out detail. We’ve decided that I don’t know what’s been happening which is good as it was my gut instinct. Tomorrow we’re running the whole play. I’m very interested to see what happens. We’ve only been running each act, so it won’t be until the run that I really get to see whether or not I have charted my journey correctly. – I hope that it will all make sense to me.

We ran Act 4 this morning, Ophelia’s mad scene. I instinctively started to play it with her being concerned why people are treating her so strangely. She thinks that she is normal. That seemed to work well.

We worked on the first song yesterday a lot. The song is about a pilgrim going off and dying. We examined the meaning of the song, but the question is why is she singing it at that time. Why does she want to see the queen. We discovered through discussion that she has to talk to the queen as the only other woman. Its about true love verses love. We decided if the stakes are so high. I think if I can get to the queen I can tell her that true love is dead it all seems to about lust. If we could get it back then perhaps we’d be able to save the world. It is that important. We’re using the songs in that way which will hopefully be very interesting and have some sort of sense to it. Its very difficult to rehearse. Normally when I get confused in the scene I go back and think what’s happening in this scene, what is said, normally I am working with a partner. But I can’t here as there is no logical through line. You can make one up but there isn’t one already there.

We tried the nunnery scene a couple of days ago. It wasn’t a great rehearsal because I hadn’t been well. We were talking about it and think that there is a problem with how early in the scene the gifts being handed back. We have been trying to think of why. But we think that its offering a negative to encourage a positive. She gives him the gifts back hoping that he will say ‘ oh no please don’t give them back, keep them, I gave them to you because I love you’ This will work in terms of playing it, but it seems a bit manufactured. So we thought that maybe its just her being honest. She feels like he doesn’t love her any more so feels that she should give these things back to him. I’ll probably try that in the run. I constantly seem to be discovering and the play seems to be getting richer and richer.

I am very excited about the opening, if but not altogether confident. There is one bit that I’m really shy of which is the small soliloquy at the end of the nunnery scene. I’ve just been doing it wioth out ever thinking about it. We’ve never been through it. It has begun to be the bit that I’m very nervous about.

Back to top

Penny Layden - Character Notes 6

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

The performances of The Antipodes have gone really well and I am having fun playing Diana in. During rehearsal, I had been unsure how audiences at the Globe would respond to this light skittish comedy, but they have loved it. I was particularly worried about how an audience in this day and age might respond to the obvious sexism in the play. However, it doesn’t seem to take anything away from their enjoyment. I think that The Antipodes is a play that really needs an audience. We perform it better when we can hear a response to the jokes. The audiences seem to have a fabulous time.

I find playing Diana quite hard as for a long while I just didn’t know who she was. She isn’t very clear cut. Each of the other characters that I have scenes with is described as representing madness, jealousy or melancholy. This meant that they were given a definition of their character’s personality and purpose in the play from the start. Diana did not have a definition, but by process of elimination, towards the end of rehearsal, it was decided that she must represent folly. For a long time I couldn’t find anything in the text to suggest that she was supposed to represent folly. Eventually I began to look for ways to make her appear silly - it is getting easier to play the role.

When we first started to rehearse The Antipodes, I thought that it would be really easy to perform as it is such a farcical comedy. I thought that playing Diana would be light relief from Ophelia. Once I begun to work with the script I began to see that I was on stage for most of the play. I had thought that I had been doing much less. In some ways The Antipodes has proved to be more challenging for me than Hamlet was. I that this is probably because I had expected it to be so much easier.

The season is almost over. It has gone so quickly. I can sit back and enjoy it all now. It is really good not having to spend so much time rehearsing as both plays are now in production.

Back to top