I have stories related to me from those at Blackfriars, the American Shakespeare Center (they play in a replica of the original Blackfriars, with modern safety conventions like lightbulbs in the chandeliers, but a great dedication to the way structure shaped the original work in the original Blackfriars. Their house is only about 45 ft deep (roughly 15 m I think), which is about the max distance two sighted people can be from each other and still make eye contact. They play with the stage and house equally lit, they talk to the audience, they enter from the audience, they whip up crowds from within the audience. Itâs fantastic. But anyway, on to the stories.)
Hamlet. Thereâs a scene where Hamlet sees Claudius praying and debates whether to kill him now or wait (because if Claudius dies praying he will automatically go to heaven). The actor playing Hamlet was genuinely asking the audience the questions in the speech, and when he got to âand should I kill him now?â someone in the audience shouted âYES KILL HIM HE NEEDS TO DIE!â Hamlet took the entire rest of the monologue to that person, enumerating his reservations so persuasively that they started to nod in agreement.
Romeo and Juliet. In this production, the fight between Mercutio and Tybalt happens in several rounds, of which Mercutio won the first. Mercutioâs actor made the choice, upon his victory, to run down the audience with his hand out for high-fives. He decided this in rehearsal, so he had time to plan for the three responses people would probably give him: a) a high-five back; b) being stunned and not reacting; and c) the old âoops too slow.â What this Mercutio did not prepare for was the audience member who panicked and deposited their handful of M&Ms into his open palm. The way I heard it, Mercutio was still processing this when Benvolio came up beside him and stole the M&Ms out of his hand to eat them.
King Lear. Edmund has a speech in which he asks whether he should marry âGoneril? Regan? Both? Neither?â Again, the actor was legitimately asking the audience, and again heâd prepared for the audience to respond in favor of any of those choices. What makes it even cooler was that the next line is âNeither can be enjoyed while both remain alive,â which works as a response to any of those options. One night, though, Edmund got his answer as âKILL THEM BOTH AND TAKE THEIR MONEY!â To which he gleefully agreed, âNeither can be enjoyed while both remain alive!!â
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