Knock knock. Who’s there? Hamlet.

My brother, Ted, with some of the puppets he's made.
My brother, Ted, with some of the puppets he’s made.

Many years ago(okay, ten or so), my brother Ted asked me to write a script for him to perform with his puppets.

So I adapted Hamlet into a five-minute version for him. The script was lost, found, lost again, and now found again, so I’m putting it up here.

My father says it’s terrible, but he hates Shakespeare, and slept through the Lantern Theatre Company’s production of Much Ado About Nothing once (which Ted and I both loved), so this can’t be all that bad.  If you read this and it makes you laugh, great. Comments and feedback are all welcome.

If you want to perform this, with or without puppets, go right ahead. Let me know, because that would make me really happy, but please give me credit in writing for creating this adaptation.  Now I have to get back to reading and writing about Walter Lowenfels and Georgia O’Keeffe.

HAMLET IN FIVE MINUTES

OFFSTAGE VOICE:
Knock knock. Who’s there?
(GHOST puppet comes up.)
GHOST:
AWOOOOO!
(GHOST puppet disappears. Hamlet puppet comes up)
HAMLET:
I’m really depressed.
(HORATIO puppet enters)
HORATIO:
Hamlet, there’s a ghost on the balcony! Come see it!
(HORATIO exits)
HAMLET:
Sure, whatever.
(GHOST re-enters)
GHOST:
BOO-YAH!
HAMLET:
OH! Jiminy Christmas, Dad, don’t scare me like that.
GHOST:
HAAAAMMMLEEETTTT, my brother killed me and married your mother. Now he’s king and you’re not. Do something!
HAMLET:
Dad! You’re really upsetting me! Why shouldn’t I just lie around and slob out my trust fund?
GHOST:
Because I’ve got news for you, kid.
OFFSTAGE VOICE:
Knock, knock!
HAMLET:
Who’s there?
OFFSTAGE VOICE:
Fortinbras!
HAMLET:
Fortinbras who?
OFFSTAGE VOICE:
Fortinbras of Norway! I’m amassing soldiers on the border and we want baked Danish for breakfast!
HAMLET:
Great.
GHOST:
Hamlet! Do something with your life!
(GHOST disappears)
HAMLET:
Well, this sucks.
(POLONIUS enters)
POLONIUS:
What is the matter, my lord?
HAMLET:
Leave me alone, I’m trying to think.
POLONIUS:
Oh, tell me all your problems, I’m here for you.
HAMLET:
Really?
POLONIUS:
No.
HAMLET:
You know what? I’m crazy. Hopping mad! Boogedy-Boo! Leave me alone!
POLONIUS:
What are your intentions with my daughter?
HAMLET:
Your daughter?
(POLONIUS exits, OPHELIA appears, she is an adorable bunny rabbit)
OPHELIA:
Hi, Hamlet.
HAMLET:
Hi, Ophie.
OPHELIA:
Whatcha doin’?
HAMLET:
You don’t wanna get mixed up with a guy like me. I’m a loner, Ophie. A rebel.
OPHELIA:
Just wait till my brother finds out what a head case you are.
(she exits. CLAUDIUS enters)
CLAUDIUS:
Well, well, well, if it isn’t Hamlet. Still crazy and useless?
HAMLET:
If I stopped being crazy and useless, you’d have me killed, right?
CLAUDIUS:
Now, Hamlet, whatever makes you say that?
HAMLET:
Ok, Uncle Claude, I have a joke for you. Knock knock.
CLAUDIUS:
Who’s there?
HAMLET:
Guys that kill their brother, marry their sister in law and make off with the crown.
CLAUDIUS:
I don’t think that joke’s very funny, Hamlet.
HAMLET:
Neither do I.
CLAUDIUS:
Go to your room and stay there till I think of something to do with you!
(exits)
HAMLET:
How about if I go to Mom’s room instead?
(GERTRUDE enters)
GERTRUDE:
Hamlet, baby, why can’t you get along with your uncle and your stepfather?
HAMLET:
Mom. Don’t tell me that you cannot see how there is something completely, intrinsically wrong with that sentence.
GERTRUDE:
You always were a strange boy.
HAMLET:
No I’m not! I am not a strange boy! Look around you, Mom! Everything else is very, very messed up!
(rod puppet pops up of ROSENCRANTZ AND GUILDENSTERN)
R&G: (singing)
Oh, we are the boys in chorus, we hope you like our show, we’re really glad to be here, but now it’s time to go!
(R&G disappear)
HAMLET:
You see?
GERTRUDE:
Maybe you need some Ritalin.
HAMLET:
No.
GERT:
Prozac?
HAMLET:
No.
GERT:
Zoloft?
HAMLET:
No!
GERT:
Tofranil? Tegretol? Riseprdal? Ex-Laxx?
HAMLET:
No, no, no, no!
OFFSTAGE VOICE:
I’ll take some Ex-Laxx.
HAMLET:
Who was that?
GERT:
It must be a mouse because there couldn’t possibly be anyone spying on you!
HAMLET:
Ok, well, I’ll just stab the tapestry with my sword, then! Take THAT!
(rod puppet of DEAD POLONIUS appears. Eyes like X’s, tongue hanging out, etc. GERTRUDE exits, replaced by CLAUDIUS)
HAMLET:
So that’s what dead really looks like.
CLAUDIUS:
HAMLET! What did you do this time?
HAMLET:
Oops. My bad.
CLAUDIUS:
Congratulations! You’ve just won an all-expense-paid one-way trip straight to England!
HAMLET:
You know what? If it gets you out of my sight, FINE.
(Exeunt. OPHELIA, still an adorable bunny rabbit, but now a crazy, scary bunny rabbit, appears, singing to the tune of “I Met Him on a Sunday.” GERTRUDE sings backup)
OPHELIA:
I met him on a Sunday.
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
And his dad got killed on Monday,
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
Lost his marbles on a Tuesday,
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
Dissed me off on Wednesday,
GERTRUDE:
Oo-oo-oo-oo
OPHELIA:
Killed my dad on Thursday,
GERTRUDE:
Oo-oo-oo-oo,
OPHELIA:
Disappeared on Friday,
GERTRUDE:
Oo-oo-oo-oo,
OPHELIA:
I said, Bye-bye- Baby…
Doo ron, day ron, day ron, day ron, day, poppa doo ron, day ron, day ron, day ron, day poppa doo, oo-oo-oo-oooo.
Splish splash, I was takin’ a bath, long about a Saturday night, rub a dub, just relaxin’ in the tub, thinkin’ everything was all right…
(OPHELIA exits. HAMLET enters.)
GERTRUDE:
Hamlet! You’re back! Where were you?
HAMLET:
Well, I was going to go to England, but I changed my mind.
GERT:
What happened to Rosencrantz and Guildenstern?
HAMLET:
Oh, they decided to stay and hang out.
(Rod puppet of ROSENCRANTZ & GUILDENSTERN, dead Xs for eyes, tongues bugging out, nooses around their necks, pops up briefly, with a riff of “Rule Brittania” on kazoo.)
HAMLET:
Where’s my girlfriend?
GERTRUDE:
Oh, she went for a big swim.
HAMLET:
How big?
GERT:
Six feet under.
HAMLET:
Well, hope she reserves us all a good table and pre-orders the appetizers.
GERT:
I’ll bring the wine!
(GERTRUDE exits. a little skull on a stick pops up.)
SKULL:
Knock, knock.
HAMLET:
Who’s there.
SKULL:
Yorick.
HAMLET:
Yorick who?
SKULL:
Tag, Yor-ick!
(SKULL drops away.)
HAMLET:
I knew him.
(LAERTES pops up, mad as hell)
LAERTES:
HAMLET! I just got here from Paris-
HAMLET:
And boy are your arms tired.
LAERTES:
And everyone I love is dead!
HAMLET:
Boo hoo. Join the club.
LAERTES:
I’m gonna kick your ass!
(LAERTES exits, GERT returns)
HAMLET:
Good.
GERT:
Hamlet, your uncle brought some wine, wasn’t that nice of him? It’s got pearls in it! And it’s mighty tasty too!
HAMLET:
Mom, wait, stop, don’t you know what they say about pearls soaked in wine?
GERT:
No, that’s pearls before- GAK.
(she dies. Disappears.)
HAMLET:
Okay. Well, everyone that’s left I don’t like very much, so this should be easy.
(CLAUDIUS enters)
CLAUDIUS:
Hamlet, I’m betting on Laertes to pulverize you!
HAMLET:
Hey, Uncle Claude, guess what.
CLAUDIUS:
What?
HAMLET:
Never get in a fight with someone crazier than yourself.
CLAUDIUS:
What’s that supposed to mean?
HAMLET:
Look, a flesh-eating vulture.
(CLAUDIUS looks up)
CLAUDIUS:
Where?
(HAMLET head-butts him. CLAUDIUS dies, disappears. LAERTES pops up, holding a sword)
HAMLET:
Yeah, I learned that from Mel Gibson.
LAERTES:
Hey, Hamlet, wanna see my new sword?
HAMLET:
What’s so great about it?
LAERTES:
Well, your uncle gave it to me. It’s got deadly poison all over it. Tag, you’re it!
(whaps him with the sword)
HAMLET:
Oh well, I guess that means I have to kill you RIGHT NOW.
(HAMLET beats LAERTES up until he disappears)
HAMLET:
Ok. Well, I think that about wraps it up.
(HORATIO enters)
HORATIO:
Hey, um, Hamlet, someone’s at the door.
HAMLET:
Can it wait a minute? I’m dying here.
(HAMLET slumps, dead, over the puppet stage. FORTINBRAS enters)
FORTINBRAS:
Knock knock.
HORATIO:
Who’s there?
FORTINBRAS:
Norway.
HORATIO:
Norway who?
FORTINBRAS:
There ain’t Nor Way that Denmark isn’t mine, all mine! Hah hah hah!
HORATIO:
And I alone am escaped to tell thee, “The End.”

END OF PLAY

I also have to add: This play is much, much funnier when Ted performs it. He reads so fast that you can only understand about 60% of the words, but the intention is clear, and the enthusiasm and determination are like a galloping horse toward Horse Heaven. It’s like Andy Kaufman breaking a land speed record.

Free Range Theatre!

Guess what, folks, I, Lindsay Harris Friel, Crazy As A Loon Playwright, am having a CRAZY LINDSAY’S GIVING IT AWAY FOR FREE SALE!  Are you looking for a  short play for your theater company, church, school, speech class, ESL class, whatever, with four characters, a simple setting, and a timely conflict to perform, but can’t afford the royalties? Well, WORRY NO MORE!  With all the hubub and froufrou about reproductive rights, pregnancy as the latest fashion accessory and tabloid cover headline, and personhood, this play guarantees that your audiences will have plenty to laugh or complain about for weeks! Just read the following and copy or paste it into the text editor or word processing software of your choice, print it out, memorize the lines and let theatrical MAGIC ensue! All I ask is that you credit me as author.  I own the copyright, and you can’t change the script, but I’ve left you plenty of room for subtext, and all you have to do is pay me in exposure!

Thanks, and have a super day!

BREAKFAST IN AMERICA

CHARACTERS:

MICHAEL: a man in his late 30s to early 40s

KATE: a woman in her late 30s to early 40s

FREDDY: a waiter, a beefy, overly-jovial lad in his early 20s

EILEEN: a waitress in her 50s

SETTING: A diner in Northeast Philadelphia. Typical diner accoutrements: formica and chrome table and fittings, so on & so forth. Television on the wall broadcasting the news.

TIME: The present day, a lovely Saturday in springtime, noonish.

AT RISE: MICHAEL and KATE sit at a table sipping coffee. The table is right next to a wood and glass partition, slightly higher than the diners’ shoulder height. MICHAEL is playing with his cell phone.

KATE: I’m so glad we have this time together.

MICHAEL: What? You’re as bad as I am with the whole cell phone thing.

(FREDDY comes bouncing up behind the partition)

MICHAEL: Oh, crap.

KATE: Don’t say anything, stay low.

FREDDY: Hi, guys!

MICHAEL AND KATE: Hi.

FREDDY: How y’seguys dooin’?

MICHAEL AND KATE: Fine.

FREDDY: So, y’seguys gettin’ breakfast or lunch?

MICHAEL AND KATE: Breakfast.

FREDDY: Ehh. Y’seguys go out last night?

MICHAEL AND KATE: No.

FREDDY: oh, Y’seseguys goin’ out tonight?

MICHAEL AND KATE: No.

FREDDY: Yer not?

KATE: Nope, this is our big adventure for the day.

FREDDY: Why not?

KATE: I have a research paper to do.

MICHAEL: Yup, we’re got stuff we have to do.

FREDDY: Ah, I hearya. I never get out any more either. I won’t be gettin’ out for a while neither, cause my girl, she’s havin’ a baby.

MICHAEL: Yup, we know.

KATE: You told us.

FREDDY: yeah, my girl’s havin’ a baby. I’m so scared. I’m terrified.

KATE: mm-hm.

MICHAEL: mm-hm.

FREDDY: An’ this time, it’s not like the las’ time, cause this time, it’s a boy, and my daughter, I don’t know, I mean I see her, but she’s a girl, and-

KATE: Wait a minute. How many kids do you have?

FREDDY: Well, I got the one, my daughter, an’ like I see her sometimes, an’ her mom, we’re like, friends and stuff, but-

KATE: Oh, look, the president’s on TV. (starts playing with her fork)

FREDDY: -but like, now, you know, I got a son, and it’s with my girl.

MICHAEL: Mm-hm.

FREDDY: You guys got kids?

MICHAEL AND KATE: Nope!

FREDDY: Ah, come on! No? No kids?

(KATE starts stabbing the palm of her hand with her fork)

MICHAEL: Nope!

FREDDY: Why not? What’s wrong witchyew?

(KATE starts corkscrewing the fork into the palm of her hand to keep from stabbing FREDDY in the eyeball)

MICHAEL: Cause we have stuff to do. We’ve got projects. Right, honey?

KATE: Right!

(MICHAEL and KATE high-five)

FREDDY: yeah, but I mean, come on, what would you guys do if you had, like, an accident?

(KATE continues stabbing herself in the hand with her fork, looking at MICHAEL)

MICHAEL: You cross that bridge when you come to it.

KATE: What kind of accident? Like a car accident?

FREDDY: No, you know, you know what I mean, if it happens?

MICHAEL: You just cross that bridge when you come to it.

FREDDY: Cause, like, my mom, she had my brother when she was forty-six-

(EILEEN comes rushing out with a tray of food, talking just a little bit too loudly.)

EILEEN: Here we are!

KATE: Oh, scrambled eggs! That’s me!

MICHAEL: There’s our breakfast! Yum!

EILEEN: Can I get you two some more coffee?

KATE: That would be lovely! Thank you!

EILEEN: Is there… anything else I can get for you?

(KATE dives into her food. MICHAEL looks up, FREDDY is gone.)

MICHAEL: I think we’re fine now, thanks.

EILEEN: I’ll be right back with your coffee. (she exits)

KATE: That is absolutely not okay. That is not okay AT ALL.

MICHAEL: It is not okay.

KATE: I mean, what if you asked someone why they were using a cane? Or told them to just drop the cane? It wouldn’t be appropriate. It would be rude.

MICHAEL: Honey, I just want to have a nice breakfast.

KATE: I wanted to have a nice breakfast too.

END OF PLAY

And SCENE. Questions? Comments? Anecdotes? Let me know!

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