Hamlet played by Naeem Hayat
Written by: William Shakespeare
Naeem trained at RADA.
Naeem appeared as part of Globe Education's Sam Wanamaker Festival in his final year at drama school.
Theatre includes: Faster Higher Stronger Straighter (Dominion Studio), King Lear, Love for Love, Cockroach, Yerma and The Grace of Mary Traverse (whilst at RADA).
Film includes: Duperie.
"Hamlet has a wonderful line just before the duel scene, 'Since no man has aught of what he leaves, what is't to leave betimes, let be'. And just that little 'let be' describes so much of this tour. We're in places for such a short amount of time, that you really have no other option but to try to exist as best you can in the moment you're in."
Before his final performance in the role of Hamlet, Naeem looks back what he's learned about his character, himself, and what lines will stick with him.
"After the show, one person came up to me and said, 'Tonight you have shown us a collection of dead bodies on the stage. We know what that looks like in real life in Kosovo. Thank you for reminding us of that, because it's something we never want to see again'. And those conversations, you never can prepare yourself for because you really have no idea, it's sort of the magic, the beauty and the tragedy in a way of theatre: it's ethereal."
Returning after the two year tour, Naeem looks back on some memorable moments from performances, including those in Calais, Elsinore and Kosovo.
"Sometimes people come up to you at the end of the show and say, 'What was really interesting was that part about Fortinbras, because that's something that we're living with'. And I think it's an interesting thing, that we arrive in a place, we do the play and then we leave. What do we leave behind?"
In his sixth interview, Naeem discusses the cultural and communal impact of the show, Hamlet’s relationship with Fortinbras, and their performance in the Zaatari refugee camp.
"We fought with pool cues, and Yorick's skull was a rock. It was totally make-believe. And there's a sense of beauty in that as well I think, there's a sense of childishness in it, a kind of play, which is warming to see in a professional setting."
In his fifth interview, Naeem talks about performing without set, props or costume in Micronesia, about big reactions to little moments, and two key revelations of Hamlet's character.
“But one thing that struck me is humour – how universal humour is. No matter where we've gone, no matter all the regions we've travelled through, one thing that sticks is the wit and the humour in the play.”
Just before leaving for the third leg of the tour, Naeem talks about performing outside the oldest cathedral in the Americas, the humour that binds people together, and discovering new elements to the play.
“We were talking the other day about which parts of the story will resonate on a cultural level, a political level and most importantly I think the human side of things.”
In his third interview Naeem discusses what’s been happening in the final week of rehearsals, the rare opportunity to be able to watch the play you’re in, and the developing character of Hamlet.
“I think you sometimes take for granted how even the subtle, smaller relationships have an effect on each other. And I think Hamlet’s is one in a million in the respect that every person he interacts with has an effect on him and he on them, from the gravedigger to Claudius.”
In his second interview Naeem discusses Hamlet, the important relationships in the play, rehearsing for multiple venues in one space and the highs and lows of the first few weeks.
“Being in the rehearsal room has opened up so many things – how clever Hamlet is, how funny he is, how much wit he has. And that’s the thing about those speeches like to be or Not to be. He has such a sharp mind he questions things.”
In his first interview Naeem talk about his initial impressions of the play and of Hamlet, and how it compares to what he thought he knew about it before starting.