Guildenstern

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In the Globe Theatre Company's production of Hamlet, Guildenstern was played by Harry Gostelow.

About Harry Gostelow

Harry has appeared in productions for the Nottingham Playhouse, Theatre Royal Windsor, and Mill at Sonning, including productions of Measure for Measure and Richard III. His film work includes Shakespeare in Love.

Click on the numbered links to follow Harry's journey as he creates and plays the character of Guildenstern in the Globe Theatre.

Harry Gostelow - 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.

For the first three days of the rehearsal process we focused on The Antipodes with Gerald Freedman (The Antipodes' director). We read the script twice, watched a Marx brothers film, and performed some burlesque sketches from American musicals. There was no pressure during this week and we hope that in three months when we come back to the play we can build upon these exercises.

Then we began work on Hamlet. On the first day of rehearsals, Giles (Block, Hamlet's director) presented his theories on how to speak verse. Jenny (Tiramani, associate costume designer at the Globe) dressed a few people in Elizabethan costume and showed how many layers the Elizabethans wore-which was rather amazing. We read through the script on Saturday and are now in the process of sitting in a circle and discussing every line of the play. We want to make sure everyone knows what each line means, and that we have a common idea for each scene- so we all know the season, the time of day, where the scene takes place-those sorts of things.

Giles has cut the play and based it upon the Folio edition of 1623 rather than the Quarto version of 1604. Giles explained that the Quarto version was a version printed in Shakespeare's lifetime of everything he had written about Hamlet and given to the actors. The Folio script is based upon the playing text, which the actors actually used. About 200 lines have been cut from the Quarto version to the Folio version. Giles himself has cut another 600 lines, to approximately 3,200 lines-a playing time of 2 hours 50 minutes with two 15-minute intervals. He's willing to put lines back in but it's a bartering process-we get some lines by giving up others.

Guildenstern hasn't lost too many lines. We cut some of the dialogue between Rosencrantz and Guildenstern, but nothing of real substance-just acts of 'jokiness', lots of 16th century references that may not have much meaning for a modern audience.

I've never been in Hamlet before. I studied it for O-Level, and I've seen it performed once or twice. Also for O-Level we studied Tom Stoppard's play Rosencrantz and Guildenstern are Dead. I've recently re-read both plays, and Stoppard's play offers great insight into Hamlet, especially the differences between Rosencrantz and Guildenstern.

We are going to develop the differences between Rosencrantz and Guildenstern in rehearsal. They are both servants to the King with a friendship to Hamlet. Rosencrantz and Guildenstern can be played like Twiddle-Dum and Twiddle-Dee. David (Phelan, who plays Rosencrantz) is shorter than I am. We could make that the only difference-'Guildenstern is the tall one'.

We have to ask ourselves whether we want to dress Rosencrantz and Guildenstern the same or make them different. I think dressing them the same turns the characters into a comedy double act. These characters have to be full of pathos in a way, because they suffer-they are killed at the end of the play. The audience should feel something for them. They should wonder, has Hamlet done the right thing? Were they guilty of complicity with Claudius or did they act unknowingly?

Rozencrantz and Guilderstern certainly seem happy to do what the King says. I think they may have their differences, that maybe Guildernstern may think, what are we doing here? Is this right? They may begin to question their actions. Maybe they become less willing to go along with the King-but they follow his orders anyway.

Do Rosencrantz and Guildenstern belong to the University of Wittenburg? Or are they are just Hamlet's old high school friends? Horatio comes from Wittenburg to see the funeral and then stays in Elsinore. Rosencrantz and Guildenstern didn't come to see the funeral. Maybe Claudius calls them because he knows they will be loyal to him rather than Hamlet. They are clearly not part of the court.

I'm also playing Osric. I was delighted to hear that. It should be fun. It is bizarre that this character suddenly appears. My dad said he saw a production where Osric is seen throughout the play, in all the court scenes. He felt playing Osric that way ruined the effect of the character. He wanted Osric to appear out of nowhere.

Osric is an absurd character. He is similar to Polonius or Rosencrantz and Guildenstern because he just doesn't understand the situation. (Hamlet asks him three questions and he answers 'yes' to all of them.)

I ask myself, why is he in the court? He's called 'young Osric', so maybe there is an 'old Osric' who has connections at court and has used them to get his son a job.

It is an important challenge to make sure that my two characters, Guildenstern and Osric, are very different. Companies cast actors that way, to make sure their characters don't blend together in the audience's mind.

One of their differences will be their costume. We're setting the production in sixteenth century Denmark rather than England, so the shirts will probably have laces instead of ruffs. The clothes will look more Continental than English.

The costume for Guildenstern might be that of a student, slightly courtly but dull, with a gentleman's cap. Osric's costume might look like a preening bird. Maybe he talks very fast and is hyper active.

Activities for Students

You might like to think about some of the questions and issues that have been occupying Harry 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.

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Harry Gostelow - 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.

The company have spent the last few days of rehearsal looking through the play, working out who knows what and when - the chronology as well as checking the cuts and changing them. We’re still bartering - claiming lines back and losing some in the process.

We took a company visit to Hatfield House. This was so that we all had the same image in mind as to what the rooms would have been like at the court during the time the play is set. Now in rehearsal this visual image of the house is at the front of my mind. By the time we reach performance I hope the geography and impression of the house will have seeped into my mind. As the cast acts each scene we should all have the same picture of rooms and décor in our mind – we should all mentally be in the same environment.

One of the challenges associated with playing two characters (Guildenstern and Osric) is to ensure they are different. I have found it extremely useful to make character profiles for each of them. I drew up two columns, one for Guildenstern and one for Osric and then proceeded to write down everything I knew about them from the text. I then added everything I could think of to fill in any gaps. These lists might include anything, from their name, address and who their parents are, right through to their hobbies, dreams and aspirations. This helps to flesh out the character. It also helps to define the difference between the two characters so that I can think about how to play them to make sure that the audience knows that I am two different people. This exercise has given me a much clearer idea of my character’s motivation.

I am just on my way to get fitted for my costumes, which I am really excited about. We have been rehearsing in rehearsal costumes, this has been helpful, but because they are not the real costumes, I haven’t allowed them to affect the way I approach my character. Once I get into my real costume I am sure that this will definitely effect my view of the character. What you wear is very important, not only does it influence the way you move, but in how you see yourself and others see you.

I am still left with many choices to make at the moment. One new thought that has been put to me is whether or not Rosencrantz and Guildenstern know what is in the letter Claudius gives them to take to England. I don’t think that they do, but this is obviously something that has to be decided in rehearsal. However, my speculation on how often Osric will be seen has been answered. It has been decided that he will just appear once, rather than being seen throughout the play.

Although the rehearsal process is slow at the moment, I do feel that all the questions that arise, have been or soon will be, answered. I’m looking forward to getting the play ‘on its feet’ later this week as well as working more closely with David (Phelan, Rosencrantz), so that we can work on our double act.

Activities for Students

Cut lines

Giles Block has cut the play to approximately 3,200 lines (see Notes 1). Look at Act 2 Scene 1, from Rosencrantz and Gulidenstern’s second entrance to Polonius’ entrance later in that scene. Which of Rosencrantz and Guildernstern’s lines would you cut? Send your cut script to Harry giving reasons for your decisions.

Character Profiles

Harry creates character profiles for each of his roles. Try this exercise for yourself, creating a profile for Guildenstern and Osric. Use the text and Harry’s notes to help you. Send your profiles to Harry so he can compare them with his own.

Claudius’ Letter

Do Rosencrantz and Guildenstern know what is in the letter Claudius sends to England? How does your answer to this question effect the way an audience would respond to the characters?

Give reasons for all of your answers. Try to find evidence in the text to ‘back up’ your ideas.

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Harry Gostelow - 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 have been to Otley for an intensive rehearsal weekend. This was extremely valuable. It kept us all together as a company. We spent the whole time we were there improvising the scenes in the play that aren’t seen on stage.

We improvised the meeting between Rosencrantz and Guildenstern before Hamlet goes to university. It was nice to see all the good times that they had, chatting about why Hamlet is going there, what he intends to get out if it and why we’re not going. We decided that Rosencrantz and Guildenstern are going to start an import export business and make money instead. In the improvisation, Hamlet was then called away to go and talk to his Dad and we go off to start our business. It was good to establish this relationship and pre history to the play.

Later, we improvised a scene after Hamlet has come back from Wittenberg, where we try to rekindle the friendship we had previously. Things are very different now though, especially once events begin to unfold. We also looked at the scene later on the boat to England focusing on Rosencrantz and Guildenstern’s behaviour towards Hamlet. We think that Rosencrantz would have been pretty upset with him. Guildenstern is just going along with everything, as he didn’t have much time to think about it all. He tries to ‘have a heart’ to heart with Hamlet but, Hamlet is aloof and disinterested. We have started to develop the idea that is Rosencrantz is more mercenary than Guildenstern.

We improvised the night on the boat before the pirates board it – where each person is going to sleep. We have to remember that Hamlet is still a Prince, and how we’re going to look after him to show that. We established that we were pretending to be asleep whilst he was reading the letter…. Then the pirates came…

I spent less time at Otley improvising Osric, as I was Guildenstern most

of the time. In the scenes we did do, Osric was on the council in the court

from the beginning. We decided that he is only a lowly member, and is there because his father was on the council. He is part of the gentry and he should be there. It makes him a very political character to play, which I’m not entirely sure about. Later on he doesn’t seem to have as much clout as we have given him. He seems, I think, to be a bit of a twit. So, we’re still trying to work that out. It’s nice to have a background for him but I’m not sure that it all fits into place just yet.

Since we got back from Otley, we’ve been assimilating all that we learnt whilst we were away. We have started working on the stage now, which perhaps wasn’t quite such a revelation for me as it was for others, as I have worked in the space before.

Activities for students

Improvisations

While Harry was in Otley he improvised scenes between Rosencrantz, Guildenstern and Hamlet before he went to university. Discuss what might be said between them. Do they part on good terms? What reasons do Rosencrantz and Guildenstern give for not going to university? How would Hamlet feel?
Harry also improvised the scene on the boat to England. Try this improvisation for yourself. What happens on the boat? Do you agree with Harry when he says that Guildenstern is trying to be nicer to Hamlet than Rosencrantz? If not, why not?
For Osric, Harry improvised the scene where the court elects the new king. Try improvising this scene. Who would be there? What would each character’s role would be? How would they vote? How would Gertrude vote? What role would Polonius take?
Are your findings different from Harry’s? If so, how are they and what leads you to think this way?

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Harry Gostelow - 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 are now at the stage where we are running the play over and over again. It has been good to get things tied together and to see how scenes and acts move into each other. Full runs have helped me to see Guildenstern's journey through the play clearly. Some parts of his journey that I didn't think made sense finally did. I find that when we run the whole play, everybody finds more energy than they had rehearsing the scenes. We have all been enjoying it and we now have the show down to about three and a half hours.

Act 3 scene 3, where Rosencrantz and Guildenstern sign up for the King and Rosencrantz has a speech about why the king is so important, had always been a little confusing to me until we played it on the Globe stage. This is the moment when they change from being Hamlet's men to being the King's men. It is only when you play the scene in the round that you get the sense of the enormity of Rosencrantz and Guildenstern selling their souls to the King. I had never really understood why they do this.

We are just about to start our technical rehearsal. In most theatres the technical rehearsal is about getting the sound, lighting and set all working together. Here at the Globe technical rehearsal is more focused on blocking, working in costume, music and getting tables and chairs on and off stage. It does lead to lot of discoveries.

Working in costume has been very eventful. I found out that my stockings are too short. They were made especially long, but not long enough. My hose are very short and I did think about cheating with a pair of tights. But, I was told that I can't and a new pair has been made for me. There are many practical things that you have to think about when working in costume that you have not thought about previously. Bowing in a doublet with a long sword has proved to be a challenge. You have to be careful not to poke people in the eye with the sword and not to crush the doublet. I want Osric and Guildenstern to bow differently. Osric will bow with both his arms out so that his cloak looks like wings.

I have been thinking about the way my costume changes my posture. I have been standing in front of a mirror discovering the best way to stand for each character. In a courtly scene you stand very upright, which is fine for Osric. Now I have to work on the Guildenstern scenes to see if I can make him look natural and comfortable in his costume. At the moment I think I still look awkward. Although I want to look relaxed I also have to think about posture because it is unlikely that in the 1600s people in his position would have slouched.

It was great to see everyone in costume at the technical rehearsal because I hadn't seen anybody else's costume before. It's good to see how my costume fits in with everybody else. It also makes all the status relationships very clear. The first scene, where I play Osric is just a mass of colour. It's wonderful. You really do feel like you are at court.

I have found that working at the Globe before has helped me to understand the stage better this time. It is important to think about your movement and others movement on stage. Largely this is because of the pillars. Actors should be staggered on stage, never on one plain, as some people will not be able to see you. The key at the Globe is variety of positions. Each scene should be played in a different shape on the stage. That way you make sure that everybody sees most things and from different angles. Diagonals always work well.

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Harry Gostelow - 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..

The season has now reached a stage where the play has settled into performance and we have just gone into rehearsal for the second play of the season, The Antipodes by Richard Brome. Hamlet has evolved in performance and I find that we have changed or developed many ideas since rehearsals. This is good as it ensures the play does not become stale. I have my experience of playing the Globe stage last season to draw on and this means I can be slightly more relaxed on stage than those working on it for the first time.

I have found that audiences warm to Rosencrantz and Guildenstern, but that the only way we develop any relationship with them is through Hamlet. Audiences particularly respond to Act 3 Scene 2 where Hamlet confronts Guildenstern, accusing him of ‘playing’ him like a ‘pipe’. The way we perform this scene can be quite varied. Sometimes I will be distant from Hamlet while in other performances I am angry. After this scene it becomes very clear that Guildenstern believes that any alliance or agreement he makes with Gertrude and Claudius is for Hamlet’s own benefit. Rosencrantz and Guildenstern are astounded by Hamlet’s murder of Polonius – after this point they pity him and work with his uncle because they believe it to be the best course of action.

This season I am able to develop the skills I acquired last year – I know the strong parts of the stage e.g. the diagonals and up stage centre, and am able to use these skills to help me play each scene. We try not to fix blocking for the play but to keep movements quite fluid. This is good because it means we do not repeat previous work and have to respond what happens in each scene each time it is played.

Activities for students

Harry alternates the way he plays Act 3 Scene 2. Sometimes he is angrywhile in another performance he may play indifference or distance. Try these lines (335-363) for yourself.

Which approach do you find more effective? Can you find another way of playing these lines that differs from Harry’s approach?

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Harry Gostelow - 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 season has now reached a stage where the play has settled into performance and we have just gone into rehearsal for the second play of the season, The Antipodes by Richard Brome. Hamlet has evolved in performance and I find that we have changed or developed many ideas since rehearsals. This is good as it ensures the play does not become stale. I have my experience of playing the Globe stage last season to draw on and this means I can be slightly more relaxed on stage than those working on it for the first time.

I have found that audiences warm to Rosencrantz and Guildenstern, but that the only way we develop any relationship with them is through Hamlet. Audiences particularly respond to Act 3 Scene 2 where Hamlet confronts Guildenstern, accusing him of ‘playing’ him like a ‘pipe’. The way we perform this scene can be quite varied. Sometimes I will be distant from Hamlet while in other performances I am angry. After this scene it becomes very clear that Guildenstern believes that any alliance or agreement he makes with Gertrude and Claudius is for Hamlet’s own benefit. Rosencrantz and Guildenstern are astounded by Hamlet’s murder of Polonius – after this point they pity him and work with his uncle because they believe it to be the best course of action.

This season I am able to develop the skills I acquired last year – I know the strong parts of the stage e.g. the diagonals and up stage centre, and am able to use these skills to help me play each scene. We try not to fix blocking for the play but to keep movements quite fluid. This is good because it means we do not repeat previous work and have to respond what happens in each scene each time it is played.

Activities for students

Harry alternates the way he plays Act 3 Scene 2. Sometimes he is angrywhile in another performance he may play indifference or distance. Try these lines (335-363) for yourself.

Which approach do you find more effective? Can you find another way of playing these lines that differs from Harry’s approach?

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Harry Gostelow - Character Notes 7

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..

Harry’s Notes: 7

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

The Antipodes has been very successful. The audiences have loved it and the reviews have been fantastic. It has been lovely for me to have such a central role in the play.

Last season I performed at the Globe in The Comedy of Errors. There is a big difference in the comic nature of the two plays. The Comedy of Errors was very farcical. This is more gentle. The Comedy of Errors ran at terrifically high pace I had a small part and it felt like jumping on and off a carrousel. In this play, I am on stage for most of the time.

As The Antipodes is such a little known play I can’t presume that anybody in the audience knows anything about it. I therefore have to concentrate on getting everything over as clearly as possible. This can be hard as the play moves quickly.

We are coming to the end of the season and I feel as though it is a time to enjoy myself. Guildenstern is not really changing any further. I am at a very relaxed stage in the production process. Other characters are still doing something different every now and then and I just respond to their actions. This keeps the performances ‘fresh’.

I am starting to think about what I will be doing once the season comes to a close. The Hamlet company will be going on tour to Vincenza, Italy for two performances in early October. We will be performing at a venue that is over 400 years old, older than the original Globe Theatre. After that I will be returning to London to play the fox in a production of Pinocchio. I am really looking forward to this as it will be directed by Marcello Magni, who I worked with last season in The Comedy of Errors at the Globe.

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