When playing Hamlet, it must be such an advantage, having big hair. In fact, thinking through the Hamlets I’ve seen, only one didn’t have big hair, and I can’t help but feel that he fell back on obsessive cigarette smoking to make up for its absence.
Big hair, though, is great. You can tug it, pull it, twist it, run your fingers neurotically through it, hide behind it, peer from within it, cower beneath it and generally drag the stuff around like a protein-fibre embodiment of the inner, tortured soul. And while big hair wasn’t the main thing I noticed while watching the latest Hamlet I’ve seen, down at the Young Vic, it is the first thing that leaps to mind as I sit down to write this entry. Big hair is great… big curly hair, even better. All the satisfaction of self-mutilation by hairdo, with added twist for that extra-special sense of the universe unravelling chaotically all around. What more could you possibly require?
I was not, I feel I should explain, deliberately angling to see Hamlet. It’s not that I wasn’t interested – I always am – but somehow in the great mess of Stuff That Needs To Be Done, I kinda missed the boat on this particular production, right up to the point where an old school friend said, ‘hey, I’m in town, going to the theatre, wanna have dinner?’ Sure, I wanted to have dinner, and we met up on the South Bank to be within spitting distance of her show. ‘Hey… it’s at the Young Vic… how’d I get there?’ she inquired, and hell, it’s not like I was going anywhere better, so off we wandered down to the Cut, a peculiar road that links Blackfriars and Waterloo, and which hasn’t quite worked out if it’s the height of trendy, arty fashion or a sensible place to buy groceries.
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