Waiting For Hamlet 
Ayers House State Dining Room 
Friday 13 Mar, 2026

While a working knowledge of Hamlet is recommended, it is not essential. The pertinent parts of the play are soon referred to and brought back into focus. Even from memories of reading it way back in school, the significance of the king’s ghost kick-starting the main theme of revenge is vital. And the iconic image of prince Hamlet holding a skull in the palm of his hand is probably the Bard’s most well-know meme.

That skull belonged to the king’s jester, Yorick, who preceded his monarch to the grave. It is there on the other side they re-unite. Their first concerns are, understandably, where too from here and which way to go. But they are soon carrying on a debate about the ethics of returning to the real world. It seems that the king has a gut feeling, despite lacking any body anymore, that he’s due to make an appearance.

They also argue about philosophical questions, and their difference in social status is a continuing bone of contention. Their obvious extreme differences in physicality also work to their advantage, the tall and regal stature of the king contrasting comically with the diminutive jester. This allows him to duck and weave, avoiding the wrath and impatience of the king as they both wait in the wings – sans wings of course.

Both Christopher Gibbs and Mark Liebert are consummate professionals, their experience making this a joy to witness. They do a fine job of delivering the clever script by David Visick, full of witty word-plays while exploring plenty of possible back-stories to explain the motives of the various characters in Hamlet.

Unlike prince Hamlet and those two waiting for Godot, these two do eventually come to a consensus and make a decision. Whether or not it is right to ‘go back in time’ and interfere, they take action and turn up. And for lovers of any interpretation of or commentary on the Bard’s works, this is also your chance to do just that.