I have a confession: I rode a bike-share bike the other night.
No, I wasn't in some faraway place without one of my bikes. I was in my home city--New York, where I live with almost as many bikes (and Marlee) as I lived with family members when I was growing up.
So what was I doing on a CitiBike?
Well, I went to some place where I wasn't sure I could park any of my bikes safely. A phone call confirmed that there is no on-premises bike parking. And, while there are on-street bike racks-- in addition to sign posts, railings and such--I didn't want to lock up my bike for the three hours or more I expected to be at my destination.
This image will give you an idea of what the neighborhood is like:
All right, the whole neighborhood isn't like that. It's actually one of the more affluent areas of the city. The crime rate is lower than in most other neighborhoods but, as in similar neighborhoods, a fair amount of that crime consists of bike theft.
That semi-submerged house is, as you may have surmised, a prop on a stage--specifically, in the Delacorte Theatre, the home of Shakespeare In The Park.
There I saw a very interesting production of Hamlet. All of the major soliloquies (speeches), and most of the original language, was intact. But it was set in suburban Atlanta, and some liberties were taken with the chronology.
Whenever I've assigned the play, I've told students that there are really two Hamlets in the play. The one who delivers "To be or not to be" and those other immortal lines is really Hamlet Jr. or Hamlet II, and he is brooding the death of his father--Hamlet Sr, if you will. In this production, he becomes the patriarch of a mixed-race family. The play opens with his funeral, which includes soul and gospel songs and dance.
For me, the cast (Ato Blankson-Wood is one of my favorite Hamlets!) helped me to see something that has been in the play all along but what is seldom emphasized: what we now call "intergenerational trauma." It also conveys the effect of murder and other kinds of violence on families and communities. And some of the "tweaks" to the original dialogue--such as "Denmark's a prison" becoming "this country is a prison" (so powerfully delivered by Blankson-Wood)--makes the play almost scarily relevant.
Those who insist traditional, period-correct productions may not like this one. And I'll admit that some attempts to transpose a contemporary Black/mixed-race American milieu with medieval Denmark don't always work. But this production "hit" far more often than it "missed" for me, and I recommend it. Oh, and if you need an excuse to ride a Citibike even if you have a few bikes of your own, here it is.
