An actor describes his experiences, part 1
By Jessica Sage
For our first Sage on Stage column of 2026, I am delighted to ask my husband, Barry Kraft, questions about his upcoming exploration of “Hamlet.” Given the astonishing depth and breadth of his knowledge, one installment simply wouldn’t suffice — so this month brings Part 1, with Part 2 to follow next month. For “Hamlet” lovers near and far, this one is especially for you.
Do you remember the first time you read or saw the play performed? What about that first time mesmerized you?
The first time I saw “Hamlet” performed was when the Olivier film version finally made its way to the small movie theater in Laguna Beach, California.
I was 7 or 8 years old when my mother (an ardent fan of culture and Laurence Olivier) took me down to see a matinee showing of the film. Was I “mesmerized”? A better word would be “terrified”! That was my first horror film, and from then on, I also became an ardent devotee of the genre.
How many times have you played the title character?
I have played Hamlet, Prince of Denmark, only once. That was at the Colorado Shakespeare Festival, summer of 1965, under the direction of James Sandoe. I have played the Spirit/Ghost of Prince Hamlet’s father—the other Hamlet in Shakespeare’s play—in two productions: first with Marco Barricelli at Oregon Shakespeare Festival and then with Nathan Currier at Marin Shakespeare Company.
What is your favorite film version of “Hamlet”?
As far as having one favorite of the many “Hamlet” films I’ve seen, I would say I don’t have a favorite. I would, however, say that I have favorite actors in the various roles — for instance, Nicholas Farrell as Horatio and Helena Bonham Carter as Ophelia.
A film I find endlessly fascinating is Ragnar’s Lyth’s 1985 television film version with Stellan Skarsgård in the title role. As if Hamlet himself had written the play and cast it, too, we see Claudius as an ever-smiling figure, Laertes as a very noble youth, and so on. There are also shocking visual moments that seemingly transport us back to the era of Elizabethan squalor, which Shakespeare balanced so well alongside his portrayal of Elizabethan splendor.
Finally, a Swedish language “Hamlet” gifts those of us who don’t speak Swedish with avoidance of the discomfort of knowing what portions of the script have been cut (as well as the pain of listening to actors who have no idea what they’re saying).
What other thoughts might you have about this play that we haven’t touched on?
I have a hunch the most madness-inducing thought I have concerns what we mean by “this play.” “Hamlet” was published in three versions — the first in 1603, the second in 1604, and the third in 1623 (alongside 35 other of Shakespeare’s plays in that magnificent volume called “the first folio”). Trying to sort out the hundreds and hundreds and hundreds of different “Hamlet” readings (some identical in all three publications, some slightly different, and some vastly different) is an exhausting joy!
Jessica Sage is the founder and producing artistic director of Rogue Theater Company. Barry Kraft’s exploration of “Hamlet” takes place on February 7 and 8. RTC’s 2026 season runs from February to November with an exciting lineup of productions, readings, and discussions. For more information about the theater company and its upcoming season—and how to purchase tickets, see roguetheatercompany.com.
