Although there seemed an inevitability that the Royal Shakespeare Company would adapt O’Farrell’s novel, given the appositeness of the source material, it doesn’t mean that Hamnet would not pose considerable challenges for Lolita Chakrabarti taking the story from page to stage.
One aspect of 16th-Century life that the novel captures beautifully is that the division between the “real world” and the supernatural realm was considerably more porous than we would ever accept these days. While the written word can more easily provide the transportation needed to convey the more imagined or imaginary elements, a stage presentation by nature is more literal. When we first meet Agnes (pronounced Ann-yis), she is immediately unconventional. Her face is lit up with delight as she watches her kestrel soar, a breathy soundscape suggesting a telepathy between Agnes and her surrounding world.
While Madeleine Mantock‘s Agnes is strong and grounded, unafraid to stand her ground when she first meets her future husband, director Erica Whyman‘s production surrounds the character with surreal, dreamlike elements. When she becomes pregnant first with Susanna and then with the twins Judith and Hamnet, she hears premonitory whispers on the wind of their voices. When she gives birth to them, the grown version of each child ethereally carries the baby of themselves and delivers it to their mother. It’s surreal and an exquisitely beautiful exchange, conveying the infrangible bond between mother and child. There is a dark foreshadowing in Agnes confusion that she had foreseen only two children in her future.