“In his twenties, John Bridgens most identified with Hamlet. The strangely aging Prince of Denmark – Bridgens was quite sure that the boy Hamlet had magically aged over a few theatrical weeks to a man who was, at the very least, in his thirties by Act V – had been suspended between thought and deed, between motive and action, frozen by a consciousness so astute and unrelenting that it made him think about everything, even thought itself.”
