Horatio

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In the Globe Theatre Company's production of Hamlet, Horatio was played by Geoffrey Beevers.

About Geoffrey Beevers

Geoffrey has appeared in productions of King Lear, Romeo and Juliet, A Midsummer Night's Dream, and The Tempest. He has also spent a season with the RSC. His television work includes the role of Neville Spivey in Jonathan Creek.

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

Geoffrey Beevers - 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.

I've seen a few productions at the Globe-all comedies. I loved the way the space was used, how the actors involved the audience. I was very interested in the groundlings standing in the yard-I wanted to leave my seat and stand with them.

During my interview with Mark (Rylance, the Globe's Artistic Director who is also playing Hamlet), he talked to me in detail about his ideas for Horatio. The part is usually played by a young man, as a student of the same age as Hamlet. It was Mark's idea to play Horatio as a mature student, as someone much older than Hamlet. I don't know whether Horatio has been played like this before. Mark feels that Horatio might have been a soldier before he was a student, or he may be someone who travels a lot, a wise man or a sage whom Hamlet admires.

Horatio is a person of complete integrity in a court that Hamlet feels to be rotten to the core. Horatio and Hamlet may study philosophy. Horatio is a scholar-he may be one of those students who travel from university to university collecting degrees. He's poor, and I don't think he fits into the court.

If Horatio is an older man, he may have known Hamlet's father quite well. If he were a soldier once, he may have been close to Hamlet's father when he was young. Maybe Horatio dropped out of the army and became a pacifist and an eternal student. I haven't fleshed out his background at all-these are simply ideas I've been thinking about.

Horatio is not a man of action. He is like Hamlet in that respect. They have a lot in common-I can imagine them in the union bar at Wittenburg University discussing philosophy long into the night. Horatio is never asked to give sage-like advice, but he is a very good listener-because Hamlet talks a lot!

Horatio has come from Wittenburg for King Hamlet's funeral but he has not seen Hamlet - why not? Horatio may not like to get involved in court life. He may have sensed that Hamlet is going through quite a lot: the death of his father followed by the funeral, the coronation of his uncle, and the wedding of his uncle and his mother. These are big state occasions. Horatio keeps out of them.

As an actor, I feel it's better to raise questions during the first weeks of rehearsal rather than to answer them. My rule is to try to choose the strongest scenario for the background of my character, the life that goes on outside the play-where he comes from and what sort of man he is. This scenario has to fit with the text. In the end, I have to go back to the text. I have to choose a scenario that most strengthens the words that I say.

At the moment we are going through the whole play and trying to get an idea of the relationships our characters have with each other. We are sitting in a big circle and discussing every line. It's difficult for actors-I think our instinct is to 'do' rather than to think about it.

It's an academic business and ultimately as an actor you have to get on your feet. The advantage of having several weeks of rehearsals is that you don't have to plunge straight in before you know what you're doing.

Activities for Students

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

Geoffrey's notes focus on the background of Horatio's character and the decision to play him as an older man. Do you agree with this decision?

What evidence is there in the text to suggest Horatio is an older man? Can you find any evidence to suggest that he is, in fact, the same age as Hamlet? Send your findings to Geoffrey.

The company have been reading through the play ensuring they reach joint decisions on the location, time of day and weather conditions for each scene. Look at Act 1 Scene 2 focusing on the part of the scene where Horatio meets Hamlet. Use the evidence in the text to discuss the location, time etc. of the scene. Send your ideas to Geoffrey so he can compare them with those of the company.

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Geoffrey Beevers - 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 period has been quite difficult as I have had a small operation and have unfortunately missed a few rehearsals. I missed out on learning the dance routine for jig and felt a little behind when I rejoined.

However, there have been many interesting activities that have helped me with background knowledge and the customs of the time. The company took a trip to Hatfield House, which is of the correct period for Hamlet. A Tudor group, who lives part of the year as Tudors, also talked the cast. These research activities have helped me to build a clear, ‘authentic’ picture in my imagination of Horatio’s world.

In rehearsal we have been talking in great detail about the play and in particular about the family relationships within it. I am however excited at the prospect of getting the play on ‘its feet’ in the next few days.

I feel that at this stage I need to read a little bit more about the philosophy that Hamlet and Horatio share. In particular I was struck by what Giles (Block, director) said about the ‘to be or not to be’ speech. He suggested that it was about living, and suffering, but doing nothing about it, or taking action and consequently dying in the process (which is what happens). I am fascinated by this idea and intend to look into it further.

I have also been thinking about all of my lines and how to say them. There are many cases where a change in punctuation or in emphasis can completely change the meaning of line. I have spent time thinking about this, but a lot will be decided when I see how those I play alongside choose to say their lines. As Horatio, a lot also depends on how Hamlet is played.

Activities for Students

Discussion Vs Action

The company has spent a lot of time talking through each scene, discussing key points. Geoffrey is pleased that now the company is putting each scene ‘on its feet’ i.e. acting out the scene, exploring where and how the characters move and how they interact with one another. Look at Act 1 Scene 1 – Horatio’s first scene. Discuss the scene from the beginning to the ghost’s first exit (line 52). After you have discussed these lines try to put them "on their feet". What do you find out from a) your discussion of the lines and b) from your experiments acting the scene? Send your findings to Geoffrey.

"To be, or not to be…"

Look again at Geoffrey’s notes where he discussed Giles Block’s interpretation of the "To be, or not to be.." soliloquy. Do you agree with Giles’ interpretation and how might it influence our understanding of Hamlet’s actions in later scenes?

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

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Geoffrey Beevers - 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 started to rehearse in rehearsal costumes. We’ve done all the groundwork now and are beginning to get things on their feet. Now I have to start getting to grips with my lines. Some actors find it easy to learn lines, but unfortunately I’m not one of them. I find it very difficult to learn lines until I have a clear idea of where I am physically on the stage when I say them. At the moment we’re only really trying the scenes with lots of people in them. But, the very tentative blocking that we’re doing at the moment is great to allow for change, though not so great for learning lines. If I have a movement associated with a line then I can just go over and over it again and again in my head. I suppose the real key to learning lines is repetition. Another key would be to make sure that you know the exact meaning of every word that you say. It’s all very well to think that you have the ‘gist’ of what you are saying, but that is not good for learning lines, or more importantly, for getting the full value out each line. I also find it helpful to look very closely at the verse, finding its rhythm and rhyme.

Throughout the last week we have been having many different classes. These have included a movement workshop and a voice workshop. The movement class ranged from relaxing exercises, to more vigorous ones, that I am still aching from. The voice workshop helped us to relax and find the centre for our voices. Although all these classes have been of great value, I have to say that I can’t wait get on with rehearsing the play.

We had our first session on the stage this week, to try out the acoustics. We used the opening scene of the play as a way of experimenting, which has led me to think a lot about it. It is a wonderful example of the way that Shakespeare wrote for his stage. He opens Hamlet at night. I had never really thought about it before as I am used to working on a stage with lights, so that you can recreate the time of day. But at the Globe, and when Shakespeare wrote, it wouldn’t have been dark, it would have been two o’clock in the afternoon. The time of day and the weather are all mentioned in the words. In fact all the stage directions are mentioned in the lines. It’s also a very atmospheric scene, and its going to be a real challenge when we come to perform it. Can we create that atmosphere at 2 o‘clock in the bright sunshine? I also think that this puts more of a demand on the audience than normal. The audience is continuously asked to use their imaginations. The actors have to use their imaginations too, but I suppose that’s all part of the job. It’s the audience that isn’t used to it, because with television and film all the imaginative work is done for you.

I have started to develop Horatio’s relationship with Hamlet. In Act 3 scene 2, the text doesn’t state whether Horatio stays or goes. I am going to choose to stay. Hamlet has a speech about valuing Horatio’s friendship and not Rozencrantz and Guildenstern’s. So, I can see that there is so much to do in developing this bond. I think that Hamlet and Horatio are tied together so much because of their shared philosophy. I’ve been doing lots of reading about it in my spare time. I think that their philosophy is related to stoic philosophy. Stoicism says that its very important to consider death and that you shouldn’t get attached to anything in this life as you will die. It believes that spending time in graveyards and looking at bones is very important, because it helps you come to terms with your own mortality. This all ties in rather nicely with Hamlet. The one thing that doesn’t, is the idea that you should consider the consequences of your actions before you take any. Hamlet doesn’t seem to be very good at this. I think that Hamlet and Horatio are Christians, but are probably studying antique philosophy – which is close to stoicism.

Thinking about Horatio, the signs seem to point to him being an intellectual. Having said this, he doesn’t say much in the play. He listens. He seems to be a ‘sounding board’ for Hamlet. But all in all I think that he is the observer in the play. At the end of the play he is the only one with a clear idea of what has happened. There is one scene though that I don’t think ties in with my idea of Horatio’s character. This is the scene in which Hamlet has been sent off to England and Horatio is seen talking to the Queen about Ophelia. Why is he there, when he doesn’t seem to belong to the world of the court? Perhaps he knew the Queen years ago, (as he knew the king), or perhaps, when he was being bundled into the ship, Hamlet asked him to stay at the court and look after the Queen and Ophelia. We haven’t started to work on these scenes yet, so I’m keeping an open mind.

Activities for Students

The Opening Scene

The opening scene of Hamlet is written for the playing conditions in the Globe. Re-read the first scene and try performing it in small groups. Concentrate on how Shakespeare establishes time, place, situation and weather conditions in the language of the scene.

Act 3, Scene 2

Geoffrey has decided that Horatio is present during Hamlet’s discussion with Rosencrantz and Guildenstern in Act 3, scene 2, line 285 onwards. Do you agree with this decision? What effect does Horatio’s presence have in the scene?

Give reasons for all of your answers. Try to find evidence in the text to support your ideas.

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Geoffrey Beevers - 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 spent an intensive rehearsal weekend away in Otley, in an Elizabethan Manor house. It was an extraordinary experience. We improvised the play from beginning to end including scenes that take place but are not in the play. I learnt a lot about Horatio, in particular, I started to make discoveries about why he stays behind to look after Ophelia.

We began by improvising scenes that happened before the play started. We improvised the scene when Hamlet and Horatio first meet in a philosophy lesson at the University of Whittenburg. We then looked at their relationship further by improvising the scene in the rose garden when Hamlet tells Horatio exactly what the ghost has said to him. I found that I was advising Hamlet to delay his actions and give himself time.

We improvised the opening scene of the play in the middle of the night, on a small mound of earth. It was quite frightening because you couldn’t see people’s faces, only their shape. I found that you stand very close to people when you talk to them. We can use this when we perform the scene to recreate darkness at 3 o’clock in the afternoon.

We happened upon a lucky coincidence during our improvisations. After he had killed Polonius, Hamlet came running across the grounds covered in blood. He was then rushed away. I was left standing on the grass alone when Ophelia arrived. I was the one to tell her that her father was dead. I feel that this goes some way to explaining why it is that I spend so much time with Ophelia later on in the play.

I discovered that Polonius’ death acts as a trigger in the play. From that moment onwards events begin to move faster and faster. I tried not to get to involved because I see Horatio as an observer. It is difficult for him because Hamlet wants him at court for support but everyone else feels that he doesn’t belong there. Horatio feels very torn. I began to see that Horatio becomes involved in events through Ophelia.

I was talking to someone the other day that expressed the view that Hamlet doesn’t take any action during the play. I totally disagree. It is Hamlet’s failure to think before taking action that causes his downfall. I feel that Hamlets and Horatio’s friendship is based on the fact that Hamlet doesn’t think before he acts, and therefore does not consider the consequences of his actions. Horatio, on the other hand, always tries to think of the consequences, but he spends so much time thinking that he rarely gets around to doing. Therefore I think that Horatio is the man of inaction rather than Hamlet. I think that if Horatio had a different function in the play, he would advise Hamlet what do, having weighed up all the consequences. However, Horatio’s role in the play is to be the observer. He is the only character at the end of the play that really knows all that has gone on.

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Geoffrey Beevers - 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.

We rehearsed Act 1 Scene 1 on a hill in the dark in Otley, which wasn’t altogether satisfactory. I have some quite difficult speeches in this scene. I’m filling in all the background, but we’ve also just seen a ghost. So we need to get the balance just right, which is proving to be quite hard. We need to discover what the ghost signifies. Does the ghost appear because of some strange disruption in the state? There must be something going on to bring the ghost. I’ve been finding it quite hard to find a through-line. I need to find a way to show how terrified Horatio is of the ghost, whilst also showing that he tries to deal with it rationally. He tries to order it to do things. It is very important that the story make sense here, otherwise the audience will get confused. It is a very dramatic first scene, but at the same time there is a lot of important information to get across. We are approaching this through the language and the blocking. But the most important way of getting things across clearly, is to have your intentions very clearly set out in your head. If you know what you’re thinking then it will be clear to the audience. The point of it is to try and work out why it is that the ghost has come. We need to work it out together as a company.

I find this to be quite a tricky stage in rehearsal. I’m only just beginning to make major discoveries and there’s never enough time to try them out. I’m having trouble with the scene between Horatio and Ophelia. Despite my discoveries in Otley, I still think it’s odd that he should be around in the court once Hamlet has gone away. I know from Otley that his deepest instincts are not to be involved in politics. I justify it to myself by saying that he helps Ophelia because Hamlet asked him to.

It’s frustrating that I still don’t know my lines perfectly and consequently break down at critical moments and have to be prompted. We have done a lot of work on the stage. We’ve tried the gravedigger’s scene - figuring out how deep the grave should be. We’ve also been trying out the scene where the ghost appears. We are having him appear from under the stage and have been trying to discover from which area of the stage his knocking is most effective.

We’ve been working on the final scene, which is also quite difficult. Hamlet wants to die standing up, so that he can be seen more clearly. But I don’t think that I can say my line whilst propping him up, so I think I shall have to lay him down first. I don’t know yet, we still have more work to do.

We ran the play right through sitting in a circle, where you move into the centre to act, without thinking of the moves too clearly. It turned out to be quite revealing, especially at the beginning. There were some lovely things going on

My main problem with Horatio at the moment is that I keep thinking things, which aren’t in his lines, and that there is no evidence for in the text. I want to say to Hamlet ‘pull yourself together. Either do it or don’t do it, because you’re in danger.’ I have to stop thinking this, as Horatio is not. Lots of his lines tend to be slightly less serious, and I keep thinking why isn’t he advising Hamlet that his life is in danger. I think that it’s just not his place in the play. He is supporting Hamlet with integrity, without ever questioning what he is doing. I struggle with that a little.

I am coming to terms with many of the major issues in the play, at last. I still haven’t got completely used to the stage yet. I think it might take me a few performances to get comfortable on it.

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Geoffrey Beevers - 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.

I have been thinking about Horatio’s age. I think that Hamlet’s father and I would have been contemporaries at school. I am older than Hamlet. I think I’m about 50, probably at least 20 year older than Hamlet. I need to work all this out because I have been cast, and I am older than Mark (Rylance – Hamlet). But, having said that, Horatio isn’t the wise man that gives advice. I can find no evidence for this in the text. There are lots of bits in the text that imply that he is an older man. I think he may have had a family once, and that they had died. I think that he’s been through something very painful and overcome it. Hence his interest in philosophy.

We are coming towards the end of rehearsals, and are starting to go through the play for the last few times. I am still struggling with my bits with Ophelia. Giles (Block) wants me to get more involved with the court, but all my instincts tell me not to. I think that I should just be there for Hamlet, and if necessary, Ophelia, on his behalf.

We’ve been talking about a scene, running through it, talking about it some more and trying it again. This is a different way of working for me. I’m not used to it. I like to go through things as a whole a little bit more.

We haven’t cut the play down yet. I think that we will have to. Giles thinks that once we know it better it will speed up. I’m not convinced yet, but I will be very happy if I’m wrong. I worry that if its too long then people will start to leave, especially as Horatio has the last couple of speeches! I have tried to do a little cutting myself, just a couple of lines here and there. I have cut a couple of lines from the speech that I have at the start of Ophelia’s mad scene. It begins ‘She speaks much of her father … ‘

The moves are still changing, so one has to keep an open mind and adapt. I follow Hamlet a lot, which isn’t too complicated as I just fill in the spaces that he isn’t using.

I think that Horatio is a wonderful part to play. Somebody said to me that he represents the audience’s view in the play, which I think is a lovely idea. He is the observer, not so much an advice giver. He rarely gives advice or intervenes.

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Geoffrey Beevers - Character Notes 7

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

Performing on the Globe stage is just what I expected. It’s a wonderful space but not an easy one to work in, because of the pillars. The pillars mean you have to watch the angles that you are standing on at all times. You need to work on the diagonal or around the pillars. The stage is also very big. The most exciting thing about performing here are all the lines that work so well with the groundlings that you know wouldn’t have the same effect in any other theatre. I find that wonderful. A good example of this is Hamlet’s line in Act 3 Scene 2: ‘to split the ears of the groudlings, who, for the most part, are capable of nothing but inexplicable dumb shows and noise.’ At The Globe, where there are groundlings at the actor’s feet, Mark (Rylance, Hamlet) is able to direct this line directly to the audience. It would not work in the same way at any other theatre as there would not be a groundling audience. Mark pauses after ‘dumb shows’ as the groundlings respond vocally to the reference. The end of the line ‘and noise’ can then be used as a direct comment on the noise just generated by the groundlings standing, at that moment, in the yard.

There are a lot of inconsistencies in Hamlet. It isn’t clear how close Hamlet and Horatio are at the beginning of the play. They don’t seem to be particularly good friends. It isn’t until the end of the play that you see that Horatio is Hamlet’s best friend. This development is very interesting.

One of the biggest challenges that an actor faces at The Globe is to make his or herself heard in the open air. I feel like I have to project my voice quite a lot at the beginning of the play in order to make sure the audience hear me and to make them understand the actor’s on stage. This is because they take a long time to settle down and are still talking to each other when they play begins. At the end of the play, however, you could hear a pin drop.

Playing the opening scene has been quite hard. Trying to convince the audience that it is dark on a bright summer’s day is not easy. It’s more difficult than I thought it would be and I knew it was going to be hard. One day it was very hot. When I began my opening lines about the cold everybody laughed because it was exactly the opposite. It’s hard without lighting. Shakespeare seemed to like making challenges for himself. He wrote a lot of scenes in the dark. I think that he enjoyed the challenge of making the audience believe that they are somewhere completely different from where they are. The opening scenes of Shakespeare plays are often problematic to play at the Globe. Similar challenges are faced with The Tempest. The Tempest opens with a storm and it is the actor’s job to make people believe they are in the middle of that storm. Shakespeare seems to go to extremes of climate or situation in opening scenes in order to absorb the audience into is world.

My understanding hasn’t changed of Horatio since I have been performing him on the Globe stage. I think that some members of the audience are not convinced about his age. I have overheard some people say that Horatio is far too old because they come to the play with preconceptions that Horatio is the same age as Hamlet. There is nothing in the text to suggest he is young. He is described as Hamlet’s fellow student but that doesn’t mean that he has to be the same age. Horatio’s age is something that I have no control over as I have been cast in the part and I can’t change my age.

Performing on The Globe stage has strengthened all my thoughts on Horatio as the observer and the listener in the play. In many ways he goes on the audience’s journey with them. He also represents the integrity of the play.

I am really enjoying playing Horatio. I love being on the Globe stage and saying these wonderful lines. I am particularly enjoying the scene where I tell Hamlet that I have seen his father’s ghost. It’s a fast moving question and answer scene that I think is wonderfully written. I am now enjoying the Ophelia’s mad scene (Act 4 scene 5), although I am still unsure as to exactly why Horatio is there. Penny (Layden, Ophelia) has started to change that scene a little which makes it interesting. She has taken to putting her arms around me at one point, which she didn’t do in rehearsal.

I can’t say that I’ve made any new major discoveries. All my thoughts just seem to be strengthening and my earlier ideas confirmed. I am really enjoying myself. Horatio is a wonderful part to play.

Activities for Students

Geoffrey is still a little uncertain about why Horatio is present in Act 4 Scene 5. What are your ideas about this moment? What do you feel is Horatio’s function in this scene and how should Geoffrey behave towards a) Ophelia and b) Gertrude. Use evidence from the text to support your ideas.

Horatio – The audience’s view

Geoffrey feels that Horatio goes on the audience’s journey – he gives the audience a way of seeing the play. To what extent do you agree with this idea? Again, use textual evidence to support your answers.

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Geoffrey Beevers - Character Notes 8

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

Now that the season is coming to an end I realise how much more comfortable I am with the Globe theatre space. When I first stepped onto the stage for Hamlet, I found it very daunting. Slowly I have begun to wear it more like an overcoat. Now that we are performing The Antipodes I feel very comfortable with the space. This in turn makes performing more fun. Having said this I am still always learning. I would like to make my performance a little subtler, especially in The Antipodes. I am still working on this.

The Antipodes is a comedy by Richard Brome. I play Hughball who is a doctor of Physic. The audiences love it and find it very funny. I am very relieved about this because I wasn’t sure how funny they were going to find the play. I have a very long scene in the play where I explain to Peregrine about The Antipodes. I have always felt that this scene is not at all funny, partly because it goes on for so long. It is here that I would particularly like to be subtler. However, the audiences laugh all the way through and don’t seem to find it boring.

Hughball and Horatio are very different characters who have very different roles in their respective plays. Horatio responds to what happens in Hamlet in order to try and protect the people around him. Hughball, however, is responsible for driving The Antipodes. He’s a character who has to establish his authority early on in the play and take control. He therefore requires a more instant definition of character compared to Horatio whose character can develop during the play. Although, of course, Horatio does have to begin Hamlet as well, but in Hamlet, the ghost overwhelms the early scenes. Having had to define my character so distinctly in The Antipodes, I began to wonder if Horatio should be more defined. I began to think that perhaps he should be less passive. I came to the conclusion that this wasn’t needed. Horatio is passive. This point just illustrates how different the two parts are.

Because the rehearsal process was so long and intense for Hamlet, I am finding that at this stage of the season I am making very few discoveries. Horatio hasn’t really changed at all. It is me who has changed. I have become more comfortable with him and the Globe stage at every performance. Hamlet does grow as a show. It seems to become more and more ‘real’ to me. I think that this is due to working in repertoire. When you are able to have a break from a show and then go back to it you always come back with added freshness.

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