REDISCOVERING HAMLET

When, halfway through Hamlet, the prince proclaims that the purpose of playing is "to hold, as 'twere, the mirror up to nature," the players listen. As have generation after generation of theater artists returning to the play, and the character, to seek a reflection of their own age. "Hamlet is played everywhere, all the time," writes theater visionary Peter Brook. "As a tramp, as a peasant, as a woman, as a hobo, as a business man, as a movie star, as a clown, even as a marionette. It's inexhaustible, limitless. Every decade offers us a new interpretation."

Take the past decade, for example, during which there has been a veritable parade of distinctive Danish princes across the English-speaking stage: In London, there was the sensitive Daniel Day Lewis at the Royal National Theatre (1989); the dark and dazzling Ralph Fiennes at the Almeida (1995); the nightshirted Mark Rylance at the Globe (2000); in New York, the erudite Kevin Kline (1990) and the stalwart Liev Schreiber (1999), both at the New York Shakespeare Festival. On film, there was the intense Mel Gibson (1990) and the charismatic Kenneth Branagh (1996). To name only a select few.

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