One may believe that there isn’t much room for “improv” in a Shakespeare production because the text that is, Shakespeare’s words are usually the star of the show. Directors have cut lines to modernize some of the plays to a manageable two-hour performance (Stratford is notorious for this method.) Purists argue that it just isn’t Shakespeare when artistic adjustments are made – whatever the reason. I admit that simultaneously I am intrigued by and repulsed by the thought of removing scenes or lines. Matt Wallace found a workable balance in his Shakespeare Behind Bar’s production of The Merchant of Venice.
One of the most striking observations about the actors in the Shakespeare Behind Bars program is that because they usually have never actually seen the play staged that they are rehearsing, their emotions are pure and unaffected by others’ performances, which gives their interpretation a nuance rarely seen or attempted in this Twenty-first Century world of You Tube, mp3, Netflix, and Internet television channels.
Because Shakespeare’s works reflect the humanity of individuals and show the singular events in life that can take one on a new and different path, who better to stage his works than Matt Wallace, director of Shakespeare Behind Bars, who works with inmates that interpret the events in life demonstrated by Shakespeare? This is in of itself a case of meta-theatricality; inmates are playing parts that encompass moral dilemmas and crime – perhaps even issues that they have directly faced – giving them the opportunity to explore their feelings unlike any typical therapy program could offer.
As "Hamlet" unfolds, watch for doubt, indecision, hesitation, and insecurity exhibited by the characters. (“Foreshadowing” is a literary technique used to provide clues for the reader to be able to predict what might occur later on in the story.)
For the effect of sensationalism, William Shakespeare frequently used ghosts in his plays.