Sunday Feature: Paul Van Dyck on adapting Oronooko

(photo credit:
Camille McQuat)

Adaptation and Inspiration

On Africa, malaria, Aphra Behn and her legacy: Oroonoko

by Paul Van Dyck

I once spent several months living in a 17th century German slave trading fortress on the coast of Ghana. I was travelling across Africa at the time, a zigzagging adventure from Morocco to Egypt, and happened to meet a documentary filmmaker looking for a camera operator. I had recently finished a degree in film studies and offered my services. The next day, I was bumping up and down in the back of a tro-tro jeep through dense jungle on a muddy and treacherous road towards the sea. The journey was well worth it. On a hill overlooking a warm turquoise ocean, flanked by an endless white sand beach on one side and a vibrant little village known as Prince’s Town on the other, rested this ancient and ominous fortress.

I fell in love with the place; with the happy villagers, the gorgeous surroundings, and the tranquility it offered to a weary traveller. It was a kind of paradise. My room was the highest turret of the fortress. In the mornings, before I set off to film the idyllic surroundings, I would go down to the beach where some of the village boys were eager to show off their skills of scrambling up palm trees to fetch me fresh coconuts. They nicknamed me “Prince Paul”. A title I quickly became accustomed to.

The Sunday Read: Chris Moore on playing Hamlet

The Real Question: Why Not?

Facing one of the biggest challenges in theatre literature

by Chris Moore

A couple of years ago Persephone Productions presented Shakespeare’s “Henry V”. One year before that Artistic Director, Gabrielle Soskin asked me if I would be interested in co-directing with her. I agreed, but remarked "that means I couldn’t really audition for Henry" and she said "no. I think that would probably be a lot on your plate." I agreed and said, "Well alright then I guess you can make it up to me by casting me as Hamlet." She chuckled and we left it at that. A little time later we went back to the joke and she asked, "Why not?" and I agreed. 

The first time I ever saw Hamlet was Kenneth Branagh’s full version when I was in high school. I didn’t understand a lot of it, but I remember loving it. I can even remember thinking I wanted to wear the tuxedo that Branagh wore for my prom. Since then, my exposure to the play hasn’t been very high. I saw “Hamlet Solo” when it came to Montreal and last year I watched a version with David Tennant. This is a testament to how much of the play has seeped into our culture. Without seeing full productions as often as one might think, one is already thoroughly familiar with it. Many of Shakespeare’s characters have remained iconic and perhaps none more so than Hamlet. It would be silly for any actor playing Hamlet to think "well it’s best not to think about it, just ignore it and go on with your work". There are certain realities that go along with playing certain roles. The over saturation isn’t necessarily something to be feared. I won’t let past productions get in the way of any role and certainly won’t with this one. I’ll be influenced by past Hamlets as much as I’ll be influenced by myself and the artists I’m working with.