WHAT I LIKED MOST about HAMLET 2018, from SHAKESPEARE'S GLOBE
Shakespeare’s Globe Theater in London, a recreation of the Globe Theater in which Shakespeare’s acting company originally performed, is making plays available to watch for free, for two weeks each, during the COVID-19 crisis (as mentioned in last week's post).
The first play they’ve made available is a recording of their 2018 production of Hamlet, free from April 6 - April 29. You can view a PDF with program information about the cast and production here.
https://cdn.shakespearesglobe.com/uploads/2020/04/Hamlet-programme-for-digital-release.pdf
You can view the play itself here by way of the ShakespearesGlobe.com website.
This will also take you to a variety of options to "READ / LISTEN / WATCH," (worth exploring), but also takes you to the play on YouTube.
Other plays will follow, two weeks per run, also free.
The programme includes many insightful bits, including the fact that the rehearsals for the play were open to the public. What a wonderful way to give the actors a chance to work things out in front of strangers, but also to begin to encourage discussion and excitement about an upcoming production.
[Michelle Terry as Hamlet]
The production moves along at a fast pace, usually with actors coming on stage for the next scene before the actors in the previous scene have made their exits, necessary because of the length of the play. Viewers will quickly note that Hamlet has a costume change after the second scene: After being asked by his mother and uncle to cast aside his inky black cloak of mourning, the prince responds by wearing a clown costume, illustrating both wit and apparent madness, but also an affinity with the jester, Yorick.
There were many things to like about this production. My comments here are without the benefit of looking up any of the reviews, so these observations are my own biased opinions on a limited number of aspects.
I will focus especially on some of the casting choices (especially regarding gender and inclusivity), and also on some of the doubling, or in other words, actors who were assigned to play more than one role, often with meaningful implications.
A FEMALE HAMLET?
While many members of contemporary audiences may not have seen an entire production with a female actor as Prince Hamlet, many will have heard of such casting, as there is a long tradition for it. Writing in the New York Times in 1982, Leslie Bennetts noted many of the actresses who played Hamlet as early as 1775, later very famously including Sarah Bernhardt in 1899 and 1900. Bennets quotes Edwin Booth, a famous Shakespearean actor of the mid-1800s in the US (and brother of John Wilkes Booth, the alleged assassin of Abraham Lincoln) as saying that a secret of his success in playing Hamlet was to highlight the prince’s femininity. Actress and director Eva LeGallienne noted that she thought Hamlet could not be played by a woman if he’s assumed to be an older man, but that if one recalls that he is a university student and a young man, having him played by a woman is not so much of a stretch.
In the 2018 Shakespeare’s Globe production of Hamlet, the prince is played by Michelle Terry, who is also the artistic director of the theater. What is refreshing about her performance is that one does not get a sense that this is an actress pretending, first, to play a male, and second, to play Prince Hamlet. Michelle Terry brings her formidable acting talents to the role, and I notice much less the fact that she is a woman in the role than I do how well she plays the role.
The stereotype is that men are more reserved when it comes to expressing their emotions. In the 1978-9 season, The Guthrie Theater in Minneapolis, Minnesota, had a production of Hamlet in which the actor playing the prince seemed capable mostly of anger and not much else. If male actors sometimes have the disadvantage of being too emotionally reserved or at times even one-dimensional, then Michelle Terry shows viewers a much broader and convincing range of emotions in her performance, and this is most refreshing, a steady stream of revelations.
GENDER POLITICS
The play is, in fact, filled with gender politics that some might miss if they merely assume that certain more active duties in old Denmark and England were reserved to men, while women were more subservient. Certainly when his uncle usurps the throne, Hamlet is forced into a subservient role instead of ascending to the throne. Ophelia is lectured by her brother regarding her relationship with Hamlet, but she turns the tables on him and essentially tells him he’d better not be a hypocrite and fail to practice what he preaches when he goes off to France. But while their father Polonius grants his son Laertes the freedom to go to France (only to send spies after him to watch him), Polonius keeps Ophelia on a much shorter leash, treating her as a pet he must protect, or as a prostitute who must charge more of the prince (such as a wedding proposal) in exchange for her attentions.
If we assume that these gender roles are simply the way things are, and were meant to be, we might notice them much less in a traditionally-cast production. Many viewers, readers, and actors today still claim they relate to Polonius for his protectiveness about his daughter, perhaps because viewing him as more protective and loving of his daughter allows them a way in, at the expense of some blindness about how offensive and oppressive he is to his daughter.
But what if one were to cast a young male actor as Ophelia, and female actors as Hamlet, Laertes, Horatio, Marcellus, and Reynaldo? This is what the Shakespeare’s Globe 2018 production has done. Perhaps such creative and inclusive casting choices might help us to notice more about the oppressive gender-dynamics in the play. I found them helpful in that way, so I'm all for it.
A DEAF GUILDENSTERN?
[Nadia Nadarajah as Guildenstern and Pearce Quigley as Rosencrantz]
Nadia Nadarajah plays Guildenstern and she has interesting comments in the programme regarding her use of British Sign Language while other actors were doing exercises in iambic pentameter. Rosencrantz is played very sympathetically by Pearce Quigley, who is not deaf. Unlike the casting of Rosencrantz and Guildenstern in the 1996 Kenneth Branagh film, where the friends seem intent mostly on pleasing the king rather than their friend Hamlet, the casting of Nadarajah and Quigley was effective in a number of ways, not the least of which involved the gulf between a deaf person using sign and those interpreting her. Although Michelle Terry as Hamlet also uses sign, still, this casting makes us feel, on the one hand, how Guildenstern is on the margins, and on the other, makes us feel Hamlet is more cruel to these former friends: Hamlet tells Guildenstern, "Pronounce," but Nadarajah as Guildenstern is, of course, not speaking. Later, Hamlet tries to get Nadarajah as Guildenstern to "play upon this pipe." "Cannot you make it speak?" To ask a deaf person to make a pipe speak?
Some productions highlight Hamlet's view, that Rosencrantz and Guildenstern "made love to their employment" and may have known what was in the letters ordering Hamlet's death, so they are expendable in the larger scheme of things for a prince. They are little people, unlike Hamlet. But in contrast, this production forces the audience to question the prince's actions toward his friends.
EFFECTIVE ROLE DOUBLING
The 2018 Shakespeare’s Globe production of Hamlet includes some wonderfully suggestive doubling of roles. Strangely, the doubling involves some alliteration in each case:
But interestingly, besides allowing for witty alliteration, it actually works and adds other layers of possibility.
Stingy Polonius & Churlish Priest
[Richard Katz as Polonius and Michelle Terry as Hamlet]
Richard Katz, who plays Polonius, later plays what Laertes calls the “churlish priest.” This is an absolute genius decision: In 2.2, Hamlet tells Polonius to be sure that the players are well-bestowed, or given good lodgings and food. Polonius replies that he will “use them according to their desert,” or in other words, give them the kind of lodging he thinks players deserve. Hamlet famously scolds him for being ungenerous:
Some of this was shortened in the 2018 production for some reason, perhaps because it's so familiar, and the play is so long, so a great deal has to be cut anyway. But one still gets the sense of Polonius as lacking in generosity, but expecting others to be generous with him (especially with his long-windedness).
This same Polonius who is inclined to be ungenerous with the players was similarly ungenerous when it came to trusting his daughter. At first he seems more trusting and generous to his son (generous at least with advice and freedom to return to France), he quickly assigns someone not only to bear correspondence and money to him, but also to spy on him. Not so generous, even with his son, as he may seem at first. Polonius says “I’m sorry” twice to Ophelia for having misjudged Hamlet, but never apologizes to the prince. Not so generous on that count either.
Later, after Ophelia dies, her brother Laertes would like the comfort of a more elaborate religious ceremony at the grave (as would have been traditional in Catholic countries where suspected suicide was not involved). Laertes asks, “What ceremony else?” (5.1), but the priest refuses more ceremony because her death was “doubtful.” Rather than respecting the mystery of Ophelia’s state of mind and the causes of her death, the priest would like to assume he can deny her and her brother a fuller ceremony, judging her as unworthy, like the rich man who is ungenerous with the beggar Lazarus at his door in the gospel tale alluded to a number of times in the play.
[Richard Katz as the "churlish priest."]
Laertes is right to call him a “churlish priest.” The Oxford English Dictionary defines “churlish” as implying boorish, rude, hard, harsh, ungracious, stingy. Stingy is exactly what Polonius was, especially with Ophelia and the players, though only covertly so with Laertes. Now facing the same actor who had played his father Polonius, but now in the role of the priest, Laertes gets a taste of the stinginess his father (and also he, Laertes) showed Ophelia while she was alive regarding trust in her ability to manage a relationship with the prince. Polonius played the gate-keeper with Ophelia, and now the same actor as priest plays gate-keeper with Laertes.
Richard Katz also plays the ambassador from England, more diplomatic than the priest, but with very few lines.
Francisco, First Player, & Fortinbras
[Jack Laskey as Francisco]
Other roles that are doubled in the production include Francisco, played by Jack Laskey, who later plays the First Player and Fortinbras, an interesting combination:
[Jack Laskey as First Player]
- Francisco in 1.1 is ending his watch and exerts his authority over Bernardo, who asks him “Who’s there?” Francisco reminds Bernardo who is still officially in charge of the post until relieved.
- The First Player could be viewed as a kind of prince among players: he gives a powerful and authoritative recitation of a speech requested by Hamlet.
- In the final scene, Laskey plays the Prince of Norway, Fortinbras, who enters, sees the many dead bodies, and says he has “rights of memory” in Denmark, asserting a kind of authority before he has been given the throne: King Hamlet had killed his father and taken land previously held by Norway that might have passed to him.
[Jack Laskey as Fortinbras]
This triple use of Jack Laskey as Francisco, First Player, and Fortinbras is also effective.
Ghost & Gravedigger
Colin Hurley, who plays the ghost, later plays the gravedigger! This may seem a strange combination at first, as Hamlet (according to some) may have more in common with his emotional surrogate father-figure, Yorick, than with his father, the dead king.
[Colin Hurley as the ghost]
And yet the ghost is a threshold figure, back from the realm of the dead to haunt the watch and speak to his son; the gravedigger is a figure who tends this side of the same threshold.
[Colin Hurley as the gravedigger]
As the gravedigger, Hurley displays a great deal of Yorick-like characteristics, so in this same actor playing two roles, one gets a sense of the sort of humoring and affectionate father the king might have been for his son in another life.
Ophelia & Osric
Shubham Saraf plays both Ophelia and Osric, a fascinating combination. A male actor in the role of Ophelia gives us another image of how frustrated the prince feels, having been denied the throne and his desire to return to Wittenberg.
[Shubham Saraf as Ophelia]
Ophelia is forced to obey her father and the king, acting as bait while they spy on Hamlet in the nunnery scene; after Ophelia's death, Saraf as Oscric is a striking contrast, not a daughter forced to please her father and king, but a man taking great pleasure in kissing up to those in power, somewhat like Polonius (which would have been another option for the doubling).
[Thy hat, it has an Osric; thy Osric has a hat.
And had it not an Osric, it would not be a hat.
Shubham Saraf as Osric.]
If you have not yet seen this 2018 production of Hamlet, for free (through Sunday, April 19, 2010 courtesy of Shakespeare’s Globe Theater in London), do consider watching, and perhaps donating: Many theaters like Shakespeare’s Globe and other arts organizations are hurting financially due to the COVID-19 crisis.
~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~
All images captured via YouTube of the 2018 Hamlet production by Shakespeare's Globe, generously offered for free to view for a limited time. I have no copyright claims to any of the images, but claim fair use for review purposes only. Please support Shakespeare's Globe and your local theaters and arts organizations if you can, either with monetary contributions, or by viewing and sharing news of these and other productions on social media and by word of mouth to promote their visibility and future.
Quotes from Hamlet are taken from InternetShakespeare, Modern, Editor's Version, edited by David Bevington, and courtesy of the University of Victoria in Canada.
Disclaimer: By noting bible passages in this blog, I do not intend to promote any religion over any other, nor am I attempting to promote religious belief in general; only to point out how the Bible may have influenced Shakespeare, his plays, and his age.
~~~~~~~~~~~~~~~~~~~~~~~~~~
Thanks for reading!
My current project is a book tentatively titled Hamlet’s Bible, about biblical allusions and plot echoes in Hamlet.
Below is a link to a list of some of my top posts (“greatest hits”), including a description of my book project (last item on the list):
https://pauladrianfried.blogspot.com/2019/12/top-20-hamlet-bible-posts.html
I post every week, so please visit as often as you like and consider subscribing.
The first play they’ve made available is a recording of their 2018 production of Hamlet, free from April 6 - April 29. You can view a PDF with program information about the cast and production here.
https://cdn.shakespearesglobe.com/uploads/2020/04/Hamlet-programme-for-digital-release.pdf
You can view the play itself here by way of the ShakespearesGlobe.com website.
This will also take you to a variety of options to "READ / LISTEN / WATCH," (worth exploring), but also takes you to the play on YouTube.
Other plays will follow, two weeks per run, also free.
The programme includes many insightful bits, including the fact that the rehearsals for the play were open to the public. What a wonderful way to give the actors a chance to work things out in front of strangers, but also to begin to encourage discussion and excitement about an upcoming production.
[Michelle Terry as Hamlet]
The production moves along at a fast pace, usually with actors coming on stage for the next scene before the actors in the previous scene have made their exits, necessary because of the length of the play. Viewers will quickly note that Hamlet has a costume change after the second scene: After being asked by his mother and uncle to cast aside his inky black cloak of mourning, the prince responds by wearing a clown costume, illustrating both wit and apparent madness, but also an affinity with the jester, Yorick.
There were many things to like about this production. My comments here are without the benefit of looking up any of the reviews, so these observations are my own biased opinions on a limited number of aspects.
I will focus especially on some of the casting choices (especially regarding gender and inclusivity), and also on some of the doubling, or in other words, actors who were assigned to play more than one role, often with meaningful implications.
A FEMALE HAMLET?
While many members of contemporary audiences may not have seen an entire production with a female actor as Prince Hamlet, many will have heard of such casting, as there is a long tradition for it. Writing in the New York Times in 1982, Leslie Bennetts noted many of the actresses who played Hamlet as early as 1775, later very famously including Sarah Bernhardt in 1899 and 1900. Bennets quotes Edwin Booth, a famous Shakespearean actor of the mid-1800s in the US (and brother of John Wilkes Booth, the alleged assassin of Abraham Lincoln) as saying that a secret of his success in playing Hamlet was to highlight the prince’s femininity. Actress and director Eva LeGallienne noted that she thought Hamlet could not be played by a woman if he’s assumed to be an older man, but that if one recalls that he is a university student and a young man, having him played by a woman is not so much of a stretch.
In the 2018 Shakespeare’s Globe production of Hamlet, the prince is played by Michelle Terry, who is also the artistic director of the theater. What is refreshing about her performance is that one does not get a sense that this is an actress pretending, first, to play a male, and second, to play Prince Hamlet. Michelle Terry brings her formidable acting talents to the role, and I notice much less the fact that she is a woman in the role than I do how well she plays the role.
The stereotype is that men are more reserved when it comes to expressing their emotions. In the 1978-9 season, The Guthrie Theater in Minneapolis, Minnesota, had a production of Hamlet in which the actor playing the prince seemed capable mostly of anger and not much else. If male actors sometimes have the disadvantage of being too emotionally reserved or at times even one-dimensional, then Michelle Terry shows viewers a much broader and convincing range of emotions in her performance, and this is most refreshing, a steady stream of revelations.
GENDER POLITICS
The play is, in fact, filled with gender politics that some might miss if they merely assume that certain more active duties in old Denmark and England were reserved to men, while women were more subservient. Certainly when his uncle usurps the throne, Hamlet is forced into a subservient role instead of ascending to the throne. Ophelia is lectured by her brother regarding her relationship with Hamlet, but she turns the tables on him and essentially tells him he’d better not be a hypocrite and fail to practice what he preaches when he goes off to France. But while their father Polonius grants his son Laertes the freedom to go to France (only to send spies after him to watch him), Polonius keeps Ophelia on a much shorter leash, treating her as a pet he must protect, or as a prostitute who must charge more of the prince (such as a wedding proposal) in exchange for her attentions.
If we assume that these gender roles are simply the way things are, and were meant to be, we might notice them much less in a traditionally-cast production. Many viewers, readers, and actors today still claim they relate to Polonius for his protectiveness about his daughter, perhaps because viewing him as more protective and loving of his daughter allows them a way in, at the expense of some blindness about how offensive and oppressive he is to his daughter.
But what if one were to cast a young male actor as Ophelia, and female actors as Hamlet, Laertes, Horatio, Marcellus, and Reynaldo? This is what the Shakespeare’s Globe 2018 production has done. Perhaps such creative and inclusive casting choices might help us to notice more about the oppressive gender-dynamics in the play. I found them helpful in that way, so I'm all for it.
[Nadia Nadarajah as Guildenstern and Pearce Quigley as Rosencrantz]
Nadia Nadarajah plays Guildenstern and she has interesting comments in the programme regarding her use of British Sign Language while other actors were doing exercises in iambic pentameter. Rosencrantz is played very sympathetically by Pearce Quigley, who is not deaf. Unlike the casting of Rosencrantz and Guildenstern in the 1996 Kenneth Branagh film, where the friends seem intent mostly on pleasing the king rather than their friend Hamlet, the casting of Nadarajah and Quigley was effective in a number of ways, not the least of which involved the gulf between a deaf person using sign and those interpreting her. Although Michelle Terry as Hamlet also uses sign, still, this casting makes us feel, on the one hand, how Guildenstern is on the margins, and on the other, makes us feel Hamlet is more cruel to these former friends: Hamlet tells Guildenstern, "Pronounce," but Nadarajah as Guildenstern is, of course, not speaking. Later, Hamlet tries to get Nadarajah as Guildenstern to "play upon this pipe." "Cannot you make it speak?" To ask a deaf person to make a pipe speak?
Some productions highlight Hamlet's view, that Rosencrantz and Guildenstern "made love to their employment" and may have known what was in the letters ordering Hamlet's death, so they are expendable in the larger scheme of things for a prince. They are little people, unlike Hamlet. But in contrast, this production forces the audience to question the prince's actions toward his friends.
EFFECTIVE ROLE DOUBLING
The 2018 Shakespeare’s Globe production of Hamlet includes some wonderfully suggestive doubling of roles. Strangely, the doubling involves some alliteration in each case:
Polonius, Priest;
Francisco, First Player, Fortinbras;
Ghost, Gravedigger;
Ophelia, Osric
Stingy Polonius & Churlish Priest
[Richard Katz as Polonius and Michelle Terry as Hamlet]
Richard Katz, who plays Polonius, later plays what Laertes calls the “churlish priest.” This is an absolute genius decision: In 2.2, Hamlet tells Polonius to be sure that the players are well-bestowed, or given good lodgings and food. Polonius replies that he will “use them according to their desert,” or in other words, give them the kind of lodging he thinks players deserve. Hamlet famously scolds him for being ungenerous:
God's bodykins, man, much better! Use every man after his
desert, and who should scape whipping? Use them after your own
honour and dignity. The less they deserve, the more merit is in
your bounty. (2.2)
Some of this was shortened in the 2018 production for some reason, perhaps because it's so familiar, and the play is so long, so a great deal has to be cut anyway. But one still gets the sense of Polonius as lacking in generosity, but expecting others to be generous with him (especially with his long-windedness).
This same Polonius who is inclined to be ungenerous with the players was similarly ungenerous when it came to trusting his daughter. At first he seems more trusting and generous to his son (generous at least with advice and freedom to return to France), he quickly assigns someone not only to bear correspondence and money to him, but also to spy on him. Not so generous, even with his son, as he may seem at first. Polonius says “I’m sorry” twice to Ophelia for having misjudged Hamlet, but never apologizes to the prince. Not so generous on that count either.
Later, after Ophelia dies, her brother Laertes would like the comfort of a more elaborate religious ceremony at the grave (as would have been traditional in Catholic countries where suspected suicide was not involved). Laertes asks, “What ceremony else?” (5.1), but the priest refuses more ceremony because her death was “doubtful.” Rather than respecting the mystery of Ophelia’s state of mind and the causes of her death, the priest would like to assume he can deny her and her brother a fuller ceremony, judging her as unworthy, like the rich man who is ungenerous with the beggar Lazarus at his door in the gospel tale alluded to a number of times in the play.
[Richard Katz as the "churlish priest."]
Laertes is right to call him a “churlish priest.” The Oxford English Dictionary defines “churlish” as implying boorish, rude, hard, harsh, ungracious, stingy. Stingy is exactly what Polonius was, especially with Ophelia and the players, though only covertly so with Laertes. Now facing the same actor who had played his father Polonius, but now in the role of the priest, Laertes gets a taste of the stinginess his father (and also he, Laertes) showed Ophelia while she was alive regarding trust in her ability to manage a relationship with the prince. Polonius played the gate-keeper with Ophelia, and now the same actor as priest plays gate-keeper with Laertes.
Richard Katz also plays the ambassador from England, more diplomatic than the priest, but with very few lines.
Francisco, First Player, & Fortinbras
[Jack Laskey as Francisco]
Other roles that are doubled in the production include Francisco, played by Jack Laskey, who later plays the First Player and Fortinbras, an interesting combination:
[Jack Laskey as First Player]
- Francisco in 1.1 is ending his watch and exerts his authority over Bernardo, who asks him “Who’s there?” Francisco reminds Bernardo who is still officially in charge of the post until relieved.
- The First Player could be viewed as a kind of prince among players: he gives a powerful and authoritative recitation of a speech requested by Hamlet.
- In the final scene, Laskey plays the Prince of Norway, Fortinbras, who enters, sees the many dead bodies, and says he has “rights of memory” in Denmark, asserting a kind of authority before he has been given the throne: King Hamlet had killed his father and taken land previously held by Norway that might have passed to him.
[Jack Laskey as Fortinbras]
This triple use of Jack Laskey as Francisco, First Player, and Fortinbras is also effective.
Ghost & Gravedigger
Colin Hurley, who plays the ghost, later plays the gravedigger! This may seem a strange combination at first, as Hamlet (according to some) may have more in common with his emotional surrogate father-figure, Yorick, than with his father, the dead king.
[Colin Hurley as the ghost]
And yet the ghost is a threshold figure, back from the realm of the dead to haunt the watch and speak to his son; the gravedigger is a figure who tends this side of the same threshold.
[Colin Hurley as the gravedigger]
As the gravedigger, Hurley displays a great deal of Yorick-like characteristics, so in this same actor playing two roles, one gets a sense of the sort of humoring and affectionate father the king might have been for his son in another life.
Ophelia & Osric
Shubham Saraf plays both Ophelia and Osric, a fascinating combination. A male actor in the role of Ophelia gives us another image of how frustrated the prince feels, having been denied the throne and his desire to return to Wittenberg.
[Shubham Saraf as Ophelia]
Ophelia is forced to obey her father and the king, acting as bait while they spy on Hamlet in the nunnery scene; after Ophelia's death, Saraf as Oscric is a striking contrast, not a daughter forced to please her father and king, but a man taking great pleasure in kissing up to those in power, somewhat like Polonius (which would have been another option for the doubling).
[Thy hat, it has an Osric; thy Osric has a hat.
And had it not an Osric, it would not be a hat.
Shubham Saraf as Osric.]
If you have not yet seen this 2018 production of Hamlet, for free (through Sunday, April 19, 2010 courtesy of Shakespeare’s Globe Theater in London), do consider watching, and perhaps donating: Many theaters like Shakespeare’s Globe and other arts organizations are hurting financially due to the COVID-19 crisis.
~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~
All images captured via YouTube of the 2018 Hamlet production by Shakespeare's Globe, generously offered for free to view for a limited time. I have no copyright claims to any of the images, but claim fair use for review purposes only. Please support Shakespeare's Globe and your local theaters and arts organizations if you can, either with monetary contributions, or by viewing and sharing news of these and other productions on social media and by word of mouth to promote their visibility and future.
Quotes from Hamlet are taken from InternetShakespeare, Modern, Editor's Version, edited by David Bevington, and courtesy of the University of Victoria in Canada.
Disclaimer: By noting bible passages in this blog, I do not intend to promote any religion over any other, nor am I attempting to promote religious belief in general; only to point out how the Bible may have influenced Shakespeare, his plays, and his age.
~~~~~~~~~~~~~~~~~~~~~~~~~~
Thanks for reading!
My current project is a book tentatively titled Hamlet’s Bible, about biblical allusions and plot echoes in Hamlet.
Below is a link to a list of some of my top posts (“greatest hits”), including a description of my book project (last item on the list):
https://pauladrianfried.blogspot.com/2019/12/top-20-hamlet-bible-posts.html
I post every week, so please visit as often as you like and consider subscribing.
Thank you, Dr. Fried.
ReplyDeleteYou're most welcome, Michael!
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