In 2018, Glenda Jackson made headlines when she played the title role in Shakespeare鈥檚 King Lear. 鈥淣obody ever mentioned that I was female and he was male,鈥� she told the Los Angeles Times. 鈥淚 wasn鈥檛 interested in the gender battle. I just wanted to see if I could do the play.鈥�
That鈥檚 almost precisely the attitude Sarah Bernhardt had when she decided to play Hamlet back in 1899. That groundbreaking moment in theatrical history comes back to life in Theresa Rebeck鈥檚 play Bernhardt/Hamlet. After running on Broadway in 2018, Bernhardt/Hamlet makes its Chicago premiere in September at the Goodman Theatre (September 14鈥揙ctober 20), arriving at a time when questions about gender are prominent in the public discussion. The show will star Terri McMahon, making her Goodman debut after acting in more than 50 productions over 23 seasons at the Oregon Shakespeare Festival.
At the end of the 19th century, Bernhardt was the world鈥檚 most famous female actor. 鈥淪he was self-created,鈥� Rebeck says, in a phone interview from her home in Brooklyn. 鈥淪he created the whole idea of celebrity. Where did she get the idea that she would be the most famous person in the world? That鈥檚 a mighty act of ego.鈥�
In the 1890s, as Bernhardt entered her 50s, the celebrated French actress was looking for new challenges on the stage. 鈥淭he parts for her were thinning out,鈥� notes Rebeck. 鈥淪he played ing茅nues for most of her life, but she was really sick of it. In the classical repertoire, which is mostly what she was doing, there are limited roles for women. She started doing breeches part. Every now and then, actresses would put on breeches.鈥� With a laugh, Rebeck adds, 鈥淎nd it was seen as a really sexual gesture鈥攂ecause you could see their legs.鈥�
No longer weighed down by the cumbersome dresses that were standard attire for women in that era, Bernhardt felt a sense of freedom as she moved around the stage wearing pants. After an initial foray into some of these roles, Bernhardt set her sights on something more ambitious. 鈥淯ltimately, if you are the biggest star in the world, Hamlet is the biggest part,鈥� Rebeck says. 鈥淭here鈥檚 something perfectly logical about the fact that she did it.鈥�
The events in Bernhardt/Hamlet took place shortly after Bernhardt had opened her own theatre in Paris. She made her debut as Hamlet on May 20, 1899, but instead of playing the Danish prince in a direct translation of William Shakespeare鈥檚 play, she commissioned a new French prose adaptation. Although Rebeck鈥檚 script closely follows much of the actual history, it departs from the facts here. In this fictionalized version, Edmond Rostand鈥攆amed for writing Cyrano de Bergerac鈥攃reates a new take on Hamlet for Bernhardt to play. (In reality, it was written by Eug猫ne Morand and Marcel Schwob.) This adds another layer to the audacity of Sarah Bernhardt. At a time when few women had any power or authority in society, it was daring for her to take on this male character. But it was also bold for her to assert that she saw flaws in the way Shakespeare had written the character.
Shakespeare鈥檚 script has sparked much debate about exactly how old Hamlet is supposed to be. Is he a youthful 19? Or closer to 30? Although Bernhardt was 55 when she put on pants and played the prince, she portrayed him in a boyish way. In a review at the time, actor Elizabeth Robins praised Bernhardt鈥檚 鈥渁mazing skill鈥� at playing 鈥渁 spirited boy with impetuosity, a youthfulness, almost childish.鈥�
What does it take to play Hamlet? Bernhardt argued that a mature woman has the experience necessary to understand what Hamlet was going through as a young man. 鈥淭he Hamlet character,鈥� suggests director Donna Feore (who鈥檚 making her Chicago debut with this Goodman production after winning praise for her work at Ontario Stratford Festival), 鈥渋s someone who intensely witnesses what is going on in the world around him.
鈥淗e can鈥檛 not see,鈥� she says. 鈥淭hat鈥檚 his problem. He sees everything.鈥�
鈥淥n some level, he鈥檚 Shakespeare himself,鈥� says Rebeck. 鈥淏ernhardt discovers that, unearthed in the character of Hamlet, is Shakespeare himself, rising with the questions that truly perturbed him. And that those are questions for all of us, beyond gender.鈥�
From Rebeck鈥檚 perspective, Bernhardt helped to show the essential humanity of the Hamlet character, bringing out universal qualities that anyone can relate to, no matter what gender they are. 鈥淪he would argue that is what happens when you step across gender and claim a role,鈥� Rebeck says. 鈥淚t鈥檚 very bold of her. Basically, she was one of the most sexual women to cross the stage, and was also wildly famous for all of the affairs she had. So she was hyper-defined as a very sexual female. And then she took that and tossed that, and walked into breeches roles. So she鈥檚 a mighty figure for the argument that we are all humans.鈥�Feore and Rebeck both wonder about the progress women have made in the century since Bernhardt played Hamlet. 鈥淚 think we鈥檙e still in a world where, when a woman puts on a man鈥檚 costume, that鈥檚 what you see,鈥� Rebeck says. 鈥淵ou don鈥檛 move past that.鈥�
鈥淗ere鈥檚 what I find jaw-dropping,鈥� shares Feore. 鈥淪he commanded the respect and devotion and collaboration of a large number of talented and incredibly influential men. They鈥檙e all holding on to every word she says. Did we go backwards from Sarah Bernhardt? We should have flown.鈥�
Look back at the Broadway production from Roundabout Theatre Company:
Janet McTeer and Brittany Bradford in Bernhardt/Hamlet
