The Tragedy of Hamlet, Prince of Denmark

by William Shakespeare, Joe Bevilacqua Narrated by Full Cast

Overview

When veteran award-winning radio theater producer Joe Bevilacqua (Joe Bev) was a student in his final semester at Kean College (now Kean University) in 1982, he designed his own course, in which he produced and directed a radio version of Hamlet.

Casting Kean faculty and students, and portraying the melancholy Danish prince himself, Bevilacqua not only completed his nearly four-hour radio adaption of Shakespeare's greatest work, he did so while carrying a double major in speech-theater-media-communication and English; producing, acting in, and sometimes writing radio plays for the WKNJ Radio Theater he founded at the college station; rehearsing and portraying Dr. Martn Dysart in Equus on the Kean Stage; and working twenty hours per week as the assistant manager of Kean's Writing and Math Lab.

After graduating summa cum laude, Bevilacqua saw his production of Hamlet picked up and distributed by the National Federation of Community Broadcasters (NFCB) and aired on public radio stations nationwide.

Bevilacqua went on to become one of the most prolific radio drama producers in the United States, as well as an on-camera actor in such films as The Fly Room and The Better Angels and in television shows, including portraying British General Bernard Montgomery in the History Channel's The Wars and the head of NBC in 1931 for HBO's Boardwalk Empire.

The master reels of Joe Bevilacqua's radio production of Hamlet were lost in the 1980s. On January 6, 2015, while going through some old files, Bevilacqua came across an NFCB newsletter listing a number of his radio dramas, including Hamlet. He then traced the NFCB collection to the University of Maryland Libraries, where it now resides.

The Tragedy of Hamlet, Prince of Denmark is a tragedy written by William Shakespeare at an uncertain date between 1599 and 1602. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet is instructed to enact on his uncle Claudius. Claudius had murdered his own brother, Hamlet's father, and subsequently seized the throne, marrying his deceased brother's widow, Gertrude.

From the NFCB newsletter:

This four-hour drama is both faithful to Shakespeare and creative in presentation. The acting is of professional quality. Joe Bev highlights the play as Hamlet by using great change of pace and dynamics, articulation and believability, along with superb vocal range. After hearing a tape of the production, veteran voice-man Daws Butler (Yogi Bear) said, “It is among the best Hamlets I have ever heard.”

Other highlights are the ghost's reverb processed bass and Claudius attempting to pray after murdering the king.

Tech is good, the acting is excellent. You will understand every word and get the full range of meaning (from tragic to comic) from the characters! Great use of sound effects and music!

BONUS TRACK: “Another Point of View (Hamlet Revisited),” originally aired on the CBS Radio Workshop June 22, 1956.

An analytical misrepresentation of Shakespeare's greatest hero, with William Conrad (narrator, author), Ben Wright (Hamlet, author), and John McIntire.

Editorial Reviews

Booknews

Lest there be misunderstanding, the title's "New" refers to the freshness of 1877, though the Dover variations are collated from some 30 editions together with the notes and numerous comments of the editors of those editions. The second volume contains commentaries from the French, German, and English, with preference given to verbal over aesthetic criticism. On the topic of whether the Dane was insane, for example, Boswell (1821) writes that Hamlet's utterances "evince not only a sound, but an acute and vigourous understanding...and though his mind is enfeebled, it is by no means deranged." This is an important reprint for those hungry to re-parse the words and (in)action of perhaps the most famous of fatherless children. Annotation c. Book News, Inc., Portland, OR (booknews.com)

From the Publisher

"Shakespeare scholars Bernice W. Kliman and James H. Lake have carried out the important task of not only bringing up to date the text of Hamlet as edited in the last century by the celebrated Shakespearean George Lyman Kittredge but also retaining its significant features. The editors' discerning analyses of performances by Mel Gibson, Kenneth Branah, Michael Almereyda, and Simon Russell Beale drive home the point that Hamlet today remains alive but restless and unpredictable. It exemplifies Ben Johnson's Shakespeare, who '. . . was not of an age, but for all time!'"
     —Kenneth Sprague Rothwell, (1921-2010), was Professor Emeritus, University of Vermont

It is good to have Kittredge’s editions—with his notes updated by respected scholars, new introductions, and suggestions on approaching the plays in performance—readily and inexpensively available.
- James L. Harner, Texas A&M University

Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.

The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.

Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.

Product Details

BN ID:	2940169720426
Publisher:	Blackstone Audio, Inc.
Publication date:	07/07/2015
Edition description:	Adapted

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