Even if Hamlet exists in one’s mind only as a distant high school memory, Tom Stoppard’s Rosencrantz and Guildenstern are Dead isn’t your typical, fourth-period English class refresher course.
The Algonquin College Theatre Department’s production of Rosencrantz and Guildenstern are Dead, directed by Mary Ellis, expands beyond what Shakespeare’s original Hamlet ever revealed about the two courtiers.
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Rosencrantz and Guildenstern are Dead Directed by Mary Ellis Starring Jake William Smith, Christine Hecker, Jeremy Jones, and Grant Hutchings |
Reminiscent of the modern-day, mother-daughter two-some, Rory and Lorelai of Gilmore Girls, the drug-fuelled comedy duo Cheech and Chong, or the butter to one’s toast if you will, Jake William Smith as Rosencrantz and Christine Hecker as his left arm, Guildenstern, offer consistent entertainment throughout their continuous banter.
The relationship and subsequent chemistry exuded by these characters onstage are essential to the success of this production. With seemingly cued laughs throughout, they prove triumphant.
Having had little knowledge of the intricate nature of the dialogue the two share (Waiting for Godot’s characters Estragon and Vladimir haven’t got anything on them) I was not surprised when, in the opening scene, the two leads were seemingly inflicted with stage fright.
One’s overall enjoyment of this play rests entirely on these two characters and their interactions, so I was relieved that their brief anxiety vanished.
Once comfortable, their scripted lines lost their intricate structure, and their dialogue smoothed into lyrical prose. No easy feat for anyone to undertake, given that muffing even one syllable would be unredeemable and blatantly obvious. The talent of the lead actors was refreshing and rarely did they miss a beat.
The play centres around a certain task assigned to protagonists Rosencrantz and Guildenstern. The two are approached by the king of Denmark (Colin Giles) to perform an intervention on Prince Hamlet (Grant Hutchings), who is quickly slipping into madness.
Throughout the play, the confused characters banter back and forth, disputing on everything from who’s who and their whereabouts, to segments of long, contemplative prose in which they debate the meaning of life and their role in it.
Common to thespian tendencies, the distinction between who is Rosencrantz and who is Guildenstern is not made throughout the play. Their interchangeable identities are iterated when Hamlet, the king, and even the two of them confuse their own names.
But this does not matter in the slightest; their few character differences – one portrayed as naive and ignorant, the other as an intellectual who’s always pondering – contribute to the shaping of an undeniable bond between the two. For those who know little of Hamlet beyond “To be or not to be?” fret not – a quick recap of the plot is subtly and smartly provided near the onset of the play.
It is unfortunate that the play’s title includes the names of only two characters since The Player (Jeremy Jones) attempts, almost successfully, to steal the show with his impeccable monologues and hilarious facial expressions. Jones’ comedic timing is like no other. He and his Tragedians (travelling “actors”) provide perverse humour and lines brimming with sexual innuendo – an unexpectedly refreshing component that compliments the already clever comedy.
While the crime of over-acting would have been easy to commit, their performances were effortless while still maintaining dramatic effect.
I have only one significant criticism and it concerns the final act of the play. I expected an ending to suit the rest of the story. The final act is anticlimactic and too melancholic, which is the direct opposite of the previous two hours – a conclusion unfit for an otherwise fantastic performance.
Homage must also be paid to the technical staff working on maintaining the “Shakespearian atmosphere.” Lighting and music were on cue, appropriate for the era and at no point overpowered the actors. A minimal set-design allowed the audience less distraction and showcased the constant character banter.
In the end, their original intentions may have epically failed, but Rosencrantz and Guildenstern are Dead is a far cry from disappointing.
Rosencrantz and Guildenstern are Dead runs until March 19. Adults $1$, Students/Seniors $8
Algonquin College, 1385 Woodroffe Ave.