I am not a playwright and I am not from Edwardian England. I did however take a crack at writing a play in Shakesperian English. The task was to write a piece in any form so long as it was an adaptation of an existing piece. I chose a Spike Mulligan poem. The result was a 5 Act Shakesperian play-pantomime that fit into just over 2000 words. This is one of the creative pieces I am most proud of having written and, as this was submitted for my degree module last year I feel it has been long enough to justify posting it without any plagiarism repercussions. I hope you enjoy this and, should any of you be aspiring stage actors, I am open to seeing a re-enactment of this. Nudge nudge.
The layout of this is a little all over the place. Spaces aren’t where they are meant to be and, while in part this is down to my lack of knowledge of the correct formatting, it is largely the fault of the WordPress site itself. Many lines are out of sync with each other but the content is all in the correct places. I have, for the purpose of making it stand out, made the character names bolder. I hope this helps.
So here it is, The Most Lamentable Tragedy of The Lotofus.
Chorus: In this, the story of the Lotofus
And his fear of the monster in the dark,
The tragedy of the Hippopotamus
Is told through how this fear did miss the mark.
With jaws and body, teeth so large to see,
No animal would venture forth to know
That the giant they shunned eternally
Could be a friend, but also be a foe.
The fatal fear projected on the creature
Allowed for the destruction of his friends,
And though his power was his biggest feature,
‘Twas fear of this unknown brought tragic ends.
The power he did have, and could have used,
Yet he did not, and thus he was abused.
ACT ONE SCENE ONE
Forest. Enter LOTOFUS and PUSSY CAT along with mice and rats.
LOTOFUS: Hark, friend! How do you do?
PUSSY CAT: I am well, friend.
LOTOFUS: And here, I see you brought along some lunch!
PUSSY CAT: A snack or two, should the occasion rise.
LOTOFUS: A wise decision! Pray, what hour is it?
PUSSY CAT: Eight, Lotofus. He will not rise till nine.
LOTOFUS: An hour then. Good. Yet how I fear the hour.
It brings such dreadful things that make me weak
And tremble where I stand.
PUSSY CAT: We shall be gone by then.
LOTOFUS: And pray we are. Terrific creatures dwell
In these parts. Like the Hippopotamus.
I do not fear you Pussy Cat, oh no,
For you eat mice and rats and leave me be.
You are my friend. But he could eat me whole.
In this I fear.
PUSSY CAT: Don’t fret. Here is no harm
If we do not disturb the river. Peace.
LOTOFUS: Alas, you are correct. I’ll shake no more.
PUSSY CAT: Hear, hear. Now I am hungry. Shall we dine?
LOTOFUS: We shall. But pray that we be gone by nine. [Exit.
ACT TWO SCENE ONE
River. Enter HIPPOPOTAMUS on the river bank.
HIPPOPOTAMUS: To use the power in my jaw to kill,
To kill for food, to satisfy my hunger?
Whether ‘tis nobler for a one as I
To use my strength to keep myself alive
Against the hunger that my size requires;
To hurt the ones I wanted to befriend
In here, this solitary place of woe
Where I am big, they small, and me alone;
To snap my jaws and with my teeth destroy them
For a mere morsel? To destroy: perchance to lose:
Ay, there’s the rub. If I did use my power
To destroy the creatures of the forest
I would lose my chance to gain a friend at last,
For if I were to eat a one of them,
The others would all run in fear of me
And I would be mere Hippopotamus
Alone, lost on this river ever-more.
[Enter LOTOFUS and PUSSY CAT]
Yet soft: the noble Pussy Cat here comes,
And who with him? I shall enquire the name
Of the stranger at his side. Good day, good Cat!
LOTOFUS: Ay me! He sees us! But why does he wake
When ‘tis not yet nine? What shall we do?
PUSSY CAT: Stay here.
I’ll venture forth and ask what he desires.
Good day, old chap.
HIPPOPOTAMUS: Good day. May I enquire,
Who is that creature that you bring this way?
PUSSY CAT: A friend.
HIPPOPOTAMUS: A friend!
PUSSY CAT: A friend of mine
And one that frightens easy in this clime.
HIPPOPOTAMUS: May I meet him?
PUSSY CAT: I doubt he will accept
Your invitation. Yet I will ask and if
He does deny you, please, good fellow, yield.
HIPPOPOTAMUS: [Aside.] A friend of noble Pussy Cat that I
Have yet to meet? Haply he’ll be mine too.
But he returns!
PUSSY CAT: He will not venture near.
He is too scared of your great size and jaws
To come closer. Yet don’t be sad, good chap,
For I will speak with him and see if I
Cannot arrange a meet another time.
For now be still.
HIPPOPOTAMUS: And on your word I will.
Good day. [Exit LOTOFUS and PUSSY CAT]
So friendless and alone I stay. [Exit.
ACT TWO SCENE TWO
Another part of the forest. Enter PUSSY CAT and LOTOFUS.
LOTOFUS: O, dear Pussy Cat! See how close he came!
I saw it. Like a prophecy, I saw
Those teeth open up as he ran at me,
And my head, entering those savage jaws.
O, why does such a creature here dwell?
PUSSY CAT: Peace,
Good fellow, peace. Let me explain it all.
That creature you call savage bears no harm.
He chooses not to eat the folk that live
In and amongst the trees and waters here.
A friend is all that he desires, and so
He starves himself in pursuit of a one
Who will not fear him. Lotofus, please come
And meet him. Do not be afraid, I plead,
For he is but a woeful giant. Heed.
LOTOFUS: I cannot. He has the power to kill
Me in one blow. And what becomes of me?
I have done no wrong. I don’t deserve to die.
But he, I know, could kill me where I stand.
I shall not go.
PUSSY CAT: Good Lotofus, please hear.
The Hippopotamus should not be feared.
LOTOFUS: It can’t be so. He is too big for me.
That is my last. I shall not speak again.
PUSSY CAT: So it shall be. Clownfish, come to my side.
CLOWNFISH: I’ll come to your front as I am forced to swim.
What is it you want?
PUSSY CAT: A message I have
To send up-river, yet I cannot leave my friend.
You are the swiftest in these waters.
A quick lap I could muster up for you.
And the message?
PUSSY CAT: Tell Hippopotamus
That he shall not meet with the Lotofus.
His fear of his great size does overpower
His will to make acquaintance with his person.
CLOWNFISH: So it is true. Size really does matter.
I shall relay this message, but beware:
The calm of hungry, lonely men is rare.
PUSSY CAT: Lotofus, will you not explain to him
Yourself? [Pause] I take your silence as a no.
Clownfish, tell him of this and then return.
CLOWNFISH: And while he turns yellow, I, the big man spurn. [Exit.
ACT THREE SCENE ONE
River. Enter CLOWNFISH moving up-river.
CLOWNFISH: Could, would, should: the great debate. Which is right?
The Hippopotamus could eat him if he might
But would he if he could, but so he can,
So would he, will he, when it hits the fan?
And should he, as he could and would no doubt
If eating him, no good could bring about?
He could. I think he would. But should he kill?
He’s hurt again. My God, I think he will.
Here comes my man; the giant they all fear;
The one the yellow-bellied won’t go near.
HIPPOPOTAMUS: Good day, good clown.
CLOWNFISH: As good as any round.
I bring you word, and such a word I bring
From Pussy Cat that surely has to sting.
HIPPOPOTAMUS: And what word is that, ho?
CLOWNFISH: The word is ‘no’.
HIPPOPOTAMUS: “The word is ‘no’”? Whatever do you mean?
CLOWNFISH: That in your presence the Lotofus won’t be seen.
HIPPOPOTAMUS: He will not come? Does Pussy Cat say why?
CLOWNFISH: He says a ‘y’ but not a why you’ll like.
HIPPOPOTAMUS: How so?
CLOWNFISH: The ‘y’ is ‘yellow’. Cowardice.
And by this ‘y’ your friendship he’ll dismiss.
HIPPOPOTAMUS: Dismiss me, without even meeting me?
The fool! The coward! Heartless! How he mocks
My way of living in a foreign land
Without a gram of discontent at it.
He cannot understand my pain, the daily
Suffering that keeps me weak though I look
The part as I am large. I cannot bear
Another day of it. My fast is over. Done.
Let the hunt begin. The Lotofus is first.
Mock me, spurn me, now taste the strength of me.
It’s time to let my jaws do what they will. [Exit HIPPOPOTAMUS]
CLOWNFISH: I thought they would. Now he shall foot the bill. [Exit.
ACT THREE SCENE TWO
Forest. Enter LOTOFUS and PUSSY CAT.
PUSSY CAT: I hope the news did not upset him much.
His is a gentle soul. On this I trust.
What does he say?
CLOWNFISH: A lot for which he’ll pay.
PUSSY CAT: My apprehension grows. What were his words?
CLOWNFISH: A few he spoke before he went berserk.
PUSSY CAT: Berserk? Clownfish, tell me, is he insane?
CLOWNFISH: He is in something but it’s more like pain.
PUSSY CAT: Where is he now? I must apologise.
CLOWNFISH: He looks for the Lotofus. Tonight he dines.
PUSSY CAT: Good God. And so he comes for him?
CLOWNFISH: He comes.
For him; revenge; perdition; yes, he comes. [Exit CLOWNFISH]
PUSSY CAT: You hear what Clownfish says? He comes for you.
I doubt that now my words will have effect
Sufficient to dispel the rage he feels,
And yet I have to try. For his sake and
For yours I have to try. Stay here, my friend.
This bush will well conceal you from harm.
I will return. [Exit PUSSY CAT]
LOTOFUS: He left me on my own!
He means to talk him down but that won’t work.
A brute his size knows nought but savagery.
I shan’t stay here. Instead, from him I’ll flee. [Exit.
ACT FOUR SCENE ONE
Another part of the forest. Enter PUSSY CAT front of stage.
PUSSY CAT: I have to find the Hippopotamus
Before the pent up anger of his past,
Friendships unrequited, and his hunger
Break the peace in which he lived so long.
I fear I am too late, but I must try
To save both prey and hunter from demise.
[Enter HIPPOPOTAMUS behind. Crosses stage]
If only I knew where he was, I could
Stop him from bringing pain into the woods. [Exit HIPPOPOTAMUS]
I shall look elsewhere. He must not be near. [Exit PUSSY CAT other way]
[Enter LOTOFUS below stage]
LOTOFUS: O God, save me from this untaméd beast!
I am too good to end up that thing’s feast.
[Enter HIPPOPOTAMUS onstage. Approaches LOTOFUS from behind]
O, Pussy Cat, why would you leave me now
With that almighty hunter on the prowl?
[HIPPOPOTAMUS tries to grab LOTOFUS. LOTOFUS steps aside and HIPPOPOTAMUS misses. LOTOFUS does not notice him]
I dare not stay too long. He’ll find me soon,
And then I’ll end up dead, or worse, his food. [Exit LOTOFUS]
HIPPOPOTAMUS: He thinks that he can hide from me. More fool!
What impudence to say that he is good,
Better than I, when he’s the one who threw
Distempered greetings at my feet. The swine.
No matter, Lotofus. You’ll soon be mine. [Exit HIPPOPOTAMUS]
LOTOFUS: Perhaps I was a little overhasty
In my judgement of him. I should have stayed
A while. Haply I would have charmed the brute
And then he would not have it out for me.
I should have tried. But it’s too late. I’m done.
Can I, for my wrongs, repent? Let him come.
Here is the beast! I spoke too soon. I am
Not ready for him.
HIPPOPOTAMUS: I found you at last.
Too many times have I been put down by
The ones whose eyes did fuel their fear. Too long
Did grave starvation grip my sides in anguish
As I sought a friend in food. Now I feast
Upon the coward that called ‘beauty’ Beast! [Chases LOTOFUS offstage and a scream is heard.
ACT FIVE SCENE ONE
River. Enter PUSSY CAT and HIPPOPOTAMUS in chains on river bank along with mice and rats.
PUSSY CAT: Old chap, I heard of your foul crime. You ate
My friend, the Lotofus, and now the wood
Calls for a reprimand. Your heinous deed
Has brought such chaos to our midst that all
Around are petrified. I cannot hope to quell
The anger in your heart, nor gloom in mine.
The only method I have thus devised
To keep the peace among the people is
Exile. Down river on the muddy plain
You’ll spend your final days in solitary.
Neither food nor friend you’ll find around.
This is your punishment. Let it be said:
The Hippopotamus is banishéd. [Exit HIPPOPOTAMUS with mice and rats in escort]
And so the fear of one brought on his woe,
While the anger, uncontrolled, of his foe
Did strike him down in blows almost as low.
Take heed, the story of the Lotofus,
And, too, that of the Hippopotamus. [Exeunt.
To be or not to be: that is the question.
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them?
The firsts lines of the ever-famous soliloquy of Hamlet. And such lines they are.
I have always had a passion for Shakespeare. In a way, I have often understood the language of Shakespeare better than modern day English. I can read the entire soliloquy and perfectly understand what Hamlet is trying to say. Not many people get this, but it’s true and I love it. Shakespearean English has so much passion, imagery and beauty in it. Hamlet is by far my favourite Shakespeare play. Romeo and Juliet follows not too far behind, but Hamlet is top.
I love Hamlet for a number of reasons.
First, on a material level. My copy is a small, slightly worn copy. The cover is a faded blue, which you can tell used to be rich in colour, and the edges of the pages are worn with use. Some of the pages are falling out, but that adds to the charm. The book is so delicate that it must be handled with care, much like the subject inside the pages themselves. As with all Shakespearean works, there is a certain glimmer about them which I cannot describe, but that makes me feel as though I have to treat the very pages as though fragile. With this copy ever more so. It seems as though the pages would crumble in my fingers if I held them too tight. But the thing about this book which makes me adore it above all others, is the smell. My copy smells different to the other books, and it adds to the charm again. As Rupert Giles of Buffy the Vampire Slayer would say, “if it is to last then the getting of knowledge should be tangible, it should be um, well, smelly.”
Hamlet’s character is complex, and I feel it gets a lot of mixed reviews. I don’t know which is right, or even if there is a right. I personally feel bad for the guy. It seems to me as though he gets a lot of stick for being the way he is: denying sending the letters to Ophelia, being absent-minded, etcetera. But when you look at it from his point of view, wouldn’t you do the same?
At the beginning of the play, he appears bitter towards King Claudius – but he is now married to Hamlet’s mother and taken over the country as King in place of Hamlet’s father. He is also trying to call Hamlet ‘son’, which he really isn’t. Wouldn’t you be bitter? His father is dead, he hasn’t had time to mourn and suddenly his uncle has swooped in, married his mother and taken over the country, trying to force Hamlet to call him ‘dad’. I think that’s harsh how hard they are on him for this. “‘Tis unmanly grief” he says to mourn. How fucking rude. “It shows a will most incorrect to heaven,/A heart unfortified, a mind impatient” etc. He’s having a go at Hamlet for grieving. He is only in his twenties from what I remember and has just lost his Dad. He should be allowed to grieve. Furthermore, Hamlet wants to go back to school in Wittenberg. His uncle’s reply? “It is most retrograde to our desire”. Our desire. So Hamlet doesn’t matter? Claudius wants him to stay but Hamlet wants to go. If it will help him, be beneficial to him, and is what he wants then he should be allowed to go, but Claudius doesn’t take this into account. They make him stay.
Hamlet has to keep his cool through this entire scene and does, quite well. He remains impassive, albeit a tad melancholy, but is only able to show his inner turmoil when they leave. He is hurt tremendously by his father’s death but cannot show it in public. If your father died and you were forced to keep it together outside of closed doors, you would struggle too. His Dad is dead and his mother, in his eyes, has married his uncle without a moments hesitation. In Hamlet’s eyes, she cried a little, then got over it and married his brother with “most wicked speed”. But he knows he can’t say anything, that he has to keep his thoughts to himself. How frustrating it must have been to have this anger and grief bottled up with no way to let it out: “But break, my heart, for I must hold my tongue.”
He then hears of his father coming back as a ghost to his best friends. They tell him they’ve seen him – imagine how that must have felt. He is still heartbroken over his death and his best friend tells him he’s seen his ghost. Your emotions would be all over the shop – confused, scared, but at the same time intrigued and almost excited at the prospect of seeing him again. Not long after, Ophelia’s brother, Laertes, as well as her father, Polonius tells Ophelia that Hamlet’s love is probably a sham. They both say it wont last. That even if he loves her now, he’ll be too involved with his princely duties later to love her. I think this is bollocks. How rude must they be to both be telling her they doubt his love is real. Admittedly we as an audience are led to doubt it ourselves later, but at this stage we know nothing. Perhaps he does genuinely love her but is too wrapped up in his immediate grief to go around professing his love for her. I think it’s a bit harsh for them to lay into Hamlet before they even know the score.
He then finds out his father was killed by his uncle in a case of foul play. The same man who is sleeping in his mother’s bed and running Denmark murdered his own father. The man who implored Hamlet to call him Dad killed his real Dad. And not to mention, all of this information is coming to him from his father’s ghost. An emotional tornado if ever I saw one.
I won’t go on much more about his character, but there a couple other notable things which make me love his character. When he finds Ophelia dead, although the scene in which himself and Laertes jump into her grave is grim at best, we as an audience can see immediately that Hamlet really did love her. Despite the doubts Laertes and Polonius had, despite denying sending the love letters to her, he loved her and this scene proves it.
Personally I believe he knew something was wrong when she handed the letters back. I mean, he professed his love quite ardently in the letter we see, and Ophelia’s words throughout the play lead us to believe hat she really loved him too. So why, if she loved him so much, would she give the letters back of her own free will? This is what I believe Hamlet thinks. He loved her, told her so in many letters and perhaps she responded, we don’t know. Either way, she received them and had never tried to give them back before. So why the sudden change of heart? In my opinion, he knew something was up, and maybe suspected they were being spied on. It isn’t made clear whether he knows, but the situation must have caused him to suspect something was up. I don’t think he denied sending the letters because Ophelia brought it up and he was embarrassed that she had. I think he denied it because he knew the situation was weird and suspected something more was going on, so, as the Prince of Denmark, he had to protect his position by denying it. Yes, it ended badly for Ophelia, but it could have ended worse for the both of them if he had have said “yes I sent them”. He is the prince, and she is nothing in terms of social status. That relationship would have been nothing short of scandalous. It was going to end badly for Ophelia either way, a young girl in that situation was never going to get out unscathed, but Hamlet could save himself. And maybe he thought that if he denied it, it would come down less harshly on her because the involvement of the prince was in fact not true. If he had have been involved, perhaps things would have been worse, and maybe he knew it.
The other thing that makes me love the character is his relationship with Horatio, his best friend. In particular the scene that hits me hard is Hamlet’s death. I wanted to write about this scene in an essay on inter-generational relationships, but I ran out of words to be able to do it justice. I shall explain it here. The thing I loved about this scene so much was that, as Hamlet is dying, Horatio goes to drink from the poisoned chalice to join him in death. Hamlet knocks the cup away and tells him no. He begs him to live. Whereas Claudius stands by and watched Hamlet’s mother drink from the poisoned cup without giving her any warning or showing any signs of regret, Hamlet, even whilst dying painfully from poison, manages to reach up and stop Horatio with his own hand from following him. It makes me so mad to see Claudius stand, in full health, quite capable of stopping her, and watch his wife drink from a cup he knows will kill her. He doesn’t even subtly tap her shoulder, or cough, or hint in any way that she shouldn’t do it. Hamlet is dying, has only minutes to live, and is able to talk Horatio out of suicide. This scene gets me every time. To bring it down a level, it gives me all the feels. It is such a heartfelt moment of friendship and love, and show the generation gap so well. While Claudius was willing to kill his own brother, marry his wife and try to kill Hamlet – se poisoned Laertes rapier so that is he hit him the poison would kill him, and if Hamlet won then the poisoned wine was for him to celebrate his win – Horatio loved Hamlet so much that he was willing to give his own life to not live without his best friend. But, being best friends, Hamlet stops him and implores him to live on. The separation of the generations here is clear, and only makes me love Hamlet all the more.
Moving on from Hamlet, another reason I love this play is Ophelia. The ‘original suicide girl’. This is what I would love to do my final dissertation on if I get the chance. Was she crazy? Was she bipolar? Was she driven crazy? Or was she completely normal, but merely seen as crazy by everybody else? Also, did she kill herself, or was it an accident?
In the case of ‘was she crazy’? I think maybe not. Without getting elbow deep into research and reading over the passages thousands of times I can’t give a coherent answer. Or at least, not one that I can say for certain I truly believe. If I do this for my dissertation, perhaps I will know then. But right now, I’m thinking she wasn’t crazy. Not at the start at least. In my eyes, she was a young girl in love with a man who appeared to love her back. She had a brother and Dad who were protective, possibly overly so, and her social status was not exactly of the highest standing. Polonius worked for the king, but he wasn’t really of that high a status himself, and so his daughter was going to be even less so. This possibly aided her downfall.
As a woman of the time, she would have been under certain rules of etiquette and social position: stay quiet, keep out of sight, and look pretty. So for her to claim to be in a mutually loving relationship with the prince was really not what she was meant to do. The king, the queen, and even her father, looked down on her. She was forced into a corner with nowhere to go, nowhere to run, or to hide. She was stuck in this image that she was meant to be, and when she overstepped the boundaries it was too late for her. She knew that she would never be viewed with any respect. This is why I believe the later scene, Ophelia’s famous ‘Mad Scene’, was all an act. I don’t believe she was crazy. I don’t believe she was mentally ill at all and simply rapid cycling. If anything if she was crazy, she was driven mad by the pressure and expectations thrust upon her by everyone else. For her, it became easier to play the part of the crazy girl because that was how people already saw her.
Emilie Autumn also believes this. At this stage, Ophelia was already being viewed as a little mad, so why not just be mad. If everyone is already going to see her as mad, no matter how hard she worked to be viewed as normal, why not just play up to the part. She acts completely crazy, unrestrained, and possibly has fun with it, because who’s going to care? She’s crazy after all. Most characters during this scene say something relating to one subject: “How do you do, pretty lady?” / “Pretty Ophelia!” / “Thought and affliction, passion, hell itself, she turns to favour and to prettiness”. Essentially, what they are saying is “She’s mad? But she’s so pretty!” Her sanity is based on her looks. She’s pretty, and they say it’s a waste and a shame because she’s mad, but she’s so pretty.
Did Ophelia kill herself? We don’t know. We can’t know. She may have slipped while picking flowers, or she may have thrown herself in. Both are interesting theories. Neither can be solidly proved. Only Shakespeare knew, and he never left a note to tell us. If I had to give my opinion, I would say that it wouldn’t surprise me if she drowned herself. Perhaps she slipped, but if she did kill herself, I wouldn’t be shocked. During her mad scene, all they could say was, “but she’s so pretty”, and lamented her state. But no-one tried to talk her down and find out if she was okay. They didn’t try to help her. They just looked on her in pity and moved on. She couldn’t get by trying to fit in, and she couldn’t get by being the crazy girl they expected her to be. Her father was dead, her lover had denied being so, and her brother was off in France. She was totally alone, and no-one cared. Even when Laertes came back, he only felt bad for her. He didn’t try and help. So if she did throw herself into the river, could you blame her?
The reason I’m thinking so much over Hamlet today is because I am writing an adaptation piece for my coursework which, ironically, never began as anything close to a Shakespearean piece. The original text was a Spike Milligan poem. I hear maybe it comes from a longer poem ‘Silly Verses for Kids’, but I will have to look that up. It goes thus:
I’m not frightened of Pussy Cats.
They only eat up mice and rats,
But a Hippopotamus
Could eat the Lotofus!
What our group came up with as a possible adaptation was twisting it around to show the Hippo’s point of view. He is misunderstood. We created the Lotofus, a mythical creature of the forest who is deathly afraid of the Hippopotamus’s power. Spike Milligan empowers the Hippopotamus here by saying it could eat the Lotofus – it could. We played on this. Maybe the Hippopotamus could eat the Lotofus but doesn’t want to. Maybe he just wants a friend, but he is so large and powerful that everyone is scared of him. Perhaps he is an anti-hero.
What we did, was we decided that we would turn this children’s poem into a tragedy. It would be a stage play. Originally we thought of trying to make it good for kids still, and I’ll try and keep this element by not being too violent. However, as a tragedy, people have to die. So I’ll lessen the blow by only damaging the lesser characters and leaving the Hippopotamus alive, though alone and sad again. I feel horrible just typing it.
So to turn it into a tragedy, I started thinking of the writing style. Immediately Shakespeare came to mind. Particularly Romeo and Juliet and Hamlet. I took the idea of a prologue from R&J, and gave our anti-hero Hippopotamus a soliloquy reminiscent of Hamlet’s famous ‘To be or not to be’ one, as quoted at the start of this post. I don’t know if I can pull off five acts, but I’ll give it a go.
It goes to show how the influence and power of Shakespeare never lets up. It is a big part of my life – he is my favourite playwright. Hamlet is my favourite play, and I literally swoon over the language. It is one of the few things on this Earth that make me genuinely so happy and peaceful, so inspired to write, that I can smile for no reason, and turn children’s poems into full-scale stage tragedies.
Shakespeare, I fucking love you.