When you started performing your one-woman Hamlet, how much did you labour over your delivery of the play’s most iconic lines, such as “To be or not to be”?
The first thing I found when I was rehearsing Hamlet was that I felt very at home. I thought, “That’s unusual – I should be quaking in my boots!” I just felt very at ease and happy to be there. But the first time I performed “to be or not to be” on stage, there was a sense of – aren’t bells supposed to ring here? Isn’t there supposed to be a klaxon?
