Rosencrantz & Guildenstern Are Dead
Mon, 1 July 2002, 02:14 amWalter Plinge11 posts in thread
Rosencrantz & Guildenstern Are Dead
Mon, 1 July 2002, 02:14 amI saw this play with some uni friends at the Dolphin Theatre and hated it. Seemingly interminable, hopelessly convoluted and extremely audience-unfriendly, I've never been so tempted to walk out of a theatre in my life. This was in 1987. Looking back, yes the production had its faults, and I was much younger and stupider than today (as if that's possible).
Now: Rosencrantz & Guildenstern Are Dead
Where: The Dolphin Theatre, University of WA
When: Saturday, June 29
Who: GRADS, directed by John Milson
Since 1987, I've seen the play several more times and I enjoy it more and more each time. Although, if I see it again, it'll be hard-pressed to outdo this superb current production. Director John Milson and his remarkable cast UNDERSTAND this play and (unlike 1987) have presented it lovingly rather than forcefully.
It is acknowledged as an extremely wordy and clever script, working on many levels at once. Audience concentration is essential, and at least a familiarity with the Tale of Hamlet is recommended. For anyone not familiar with the characters, Rosencrantz & Guildenstern are bit players in Shakespeare's play. Chums of Hamlet, they're summoned to the Royal Palace by the King in an attempt to discern why Hamlet is acting so bloody weird. Playwright Tom Stoppard has taken these two minor but pivotal characters and told their story: two average chaps out of their depth in a Royal Court in turmoil.
R&G are the "everymen" that we are to sympathise with, caught up in circumstances beyond their control and understanding, condemned to play the hand destiny dealt them, spiralling towards a fate they can't evade and of which we're aware before we even take our seats (hint: see the title).
Whoa, philosophical overload. Bear with me.
Eliot McCann and Tony Petani brought the pair to life with a talent bordering on the arcane. From the instant the curtain opened, we took them into our sympathies as articulate, believable, three-dimensional characters. The exceptional dialogue was impeccably delivered and we BELIEVED that these two were lifelong friends. Perfect casting and perfect performances. Thank you.
R&G eventually make their way to the Royal Court. The programme lied when it told us Webmaster Grant Malcolm was playing the role of King Claudius. Instead, we got the always-watchable, regally-bearing, stentorian Fred Lawson with a wastepaper basket balanced on his head. Fred has had much more experience with this role, and I think it was a relief to all when he walked on stage at the appointed time.
The stunning Julia Dalby, lovely Leah Maher, and the not-quite-as-stunning-but-ruggedly-handsome-in-a-strictly-heterosexual-sense Collin O'Brien made up the Court as Gertrude, Ophelia and Polonius respectively. All impeccable in their characterisations, and one thing that really impressed me was how they continued to deliver the Bard's lines even as they exited and made their way through the wings [and in Collin's case, for a good minute or so after :-)] slowly fading out as though they were making their way through the castle, not just abruptly stopping as they passed the curtains.
Ben Sorgiovanni played Hamlet to give the Meadows a run for his money. Not really crazed, but more like he was so sane he caused everyone else to blow their minds. VPL is not a good look though. I could've done without the hacking and spitting into the wind, but it's in the script, and to be generous, we can allow Stoppard some bodily secretion humour.
Conrad Crisafulli lived The Player. Almost ridiculous in his costume and makeup, Conrad's talent and experience cemented this cornerstone of the production. Initially little more than a buffoon, The Player transforms gradually, almost unnoticeably during the play until his revelations slam down on our protagonists with the mercilessness of implacable destiny.
Smartarse alert! Backpeddle, backpeddle!
The Tragedians were great. All individuals, yet acting as a team. Stephen Whiley in the dream role of Alfred stood out, but mainly because the script favours him.
Wonderful epilogue, too. Just when we thought it was over, we were enthralled by the "new bit" at the end. (Apparently it's from Stoppard's original script - dropped in later publications.) Even if you're seen R&G previously, this adds yet ANOTHER layer to the overall experience.
What didn't I like? Not much. I was surprised (and only momentarily disappointed) that there was no commonality of costumes and sets between R&G and GRADS' recent production of Hamlet. I suppose I had in my mind's eye a vision of the same characters in the same costumes, delivering (some of) the same lines, but from a different point of view (and I thought that was part of the intention of presenting these two plays).
In my own opinion, some of the costumes were a little strange. Some a little overdone, while others too "normal". Claudius's crown elicited a few unintentional giggles from the audience, and proved to be a popular topic of discussion at the interval. R&G's cloaks seemed to be graduation gowns that someone had quickly gone at with a paintbrush. However it was very effective when two of the players turned up in the same outfits. Good to see Dean Schulze wearing some of his work clothes on stage too.
Music, sound and lighting effects were all very good, although some of the lighting cues were a bit slow. On a couple of occasions, characters were left in a freeze waiting for a blackout or lighting change.
These are just minor quibbles. Overall, this was one of the most enjoyable performances I've ever seen, and certainly the best production of R&G. The script is a modern classic, with cheap (but hilarious) jokes for the casual viewer, balanced against existentialist musings for the closet psychologists. The audience was simultaneously rolling in the aisles and marvelling at the talent of the author and cast.
It's a three-act play (with one interval) and it still manages to finish at the thoroughly respectable hour of 10:15pm. If you are tempted, but discouraged by the Shakespearean association, rest assured that it doesn't dominate. There are only three more performances, Thurs, Fri, Sat, 4, 5, 6 July. Highly, highly recommended. Well done to GRADS yet again.
JB
Now: Rosencrantz & Guildenstern Are Dead
Where: The Dolphin Theatre, University of WA
When: Saturday, June 29
Who: GRADS, directed by John Milson
Since 1987, I've seen the play several more times and I enjoy it more and more each time. Although, if I see it again, it'll be hard-pressed to outdo this superb current production. Director John Milson and his remarkable cast UNDERSTAND this play and (unlike 1987) have presented it lovingly rather than forcefully.
It is acknowledged as an extremely wordy and clever script, working on many levels at once. Audience concentration is essential, and at least a familiarity with the Tale of Hamlet is recommended. For anyone not familiar with the characters, Rosencrantz & Guildenstern are bit players in Shakespeare's play. Chums of Hamlet, they're summoned to the Royal Palace by the King in an attempt to discern why Hamlet is acting so bloody weird. Playwright Tom Stoppard has taken these two minor but pivotal characters and told their story: two average chaps out of their depth in a Royal Court in turmoil.
R&G are the "everymen" that we are to sympathise with, caught up in circumstances beyond their control and understanding, condemned to play the hand destiny dealt them, spiralling towards a fate they can't evade and of which we're aware before we even take our seats (hint: see the title).
Whoa, philosophical overload. Bear with me.
Eliot McCann and Tony Petani brought the pair to life with a talent bordering on the arcane. From the instant the curtain opened, we took them into our sympathies as articulate, believable, three-dimensional characters. The exceptional dialogue was impeccably delivered and we BELIEVED that these two were lifelong friends. Perfect casting and perfect performances. Thank you.
R&G eventually make their way to the Royal Court. The programme lied when it told us Webmaster Grant Malcolm was playing the role of King Claudius. Instead, we got the always-watchable, regally-bearing, stentorian Fred Lawson with a wastepaper basket balanced on his head. Fred has had much more experience with this role, and I think it was a relief to all when he walked on stage at the appointed time.
The stunning Julia Dalby, lovely Leah Maher, and the not-quite-as-stunning-but-ruggedly-handsome-in-a-strictly-heterosexual-sense Collin O'Brien made up the Court as Gertrude, Ophelia and Polonius respectively. All impeccable in their characterisations, and one thing that really impressed me was how they continued to deliver the Bard's lines even as they exited and made their way through the wings [and in Collin's case, for a good minute or so after :-)] slowly fading out as though they were making their way through the castle, not just abruptly stopping as they passed the curtains.
Ben Sorgiovanni played Hamlet to give the Meadows a run for his money. Not really crazed, but more like he was so sane he caused everyone else to blow their minds. VPL is not a good look though. I could've done without the hacking and spitting into the wind, but it's in the script, and to be generous, we can allow Stoppard some bodily secretion humour.
Conrad Crisafulli lived The Player. Almost ridiculous in his costume and makeup, Conrad's talent and experience cemented this cornerstone of the production. Initially little more than a buffoon, The Player transforms gradually, almost unnoticeably during the play until his revelations slam down on our protagonists with the mercilessness of implacable destiny.
Smartarse alert! Backpeddle, backpeddle!
The Tragedians were great. All individuals, yet acting as a team. Stephen Whiley in the dream role of Alfred stood out, but mainly because the script favours him.
Wonderful epilogue, too. Just when we thought it was over, we were enthralled by the "new bit" at the end. (Apparently it's from Stoppard's original script - dropped in later publications.) Even if you're seen R&G previously, this adds yet ANOTHER layer to the overall experience.
What didn't I like? Not much. I was surprised (and only momentarily disappointed) that there was no commonality of costumes and sets between R&G and GRADS' recent production of Hamlet. I suppose I had in my mind's eye a vision of the same characters in the same costumes, delivering (some of) the same lines, but from a different point of view (and I thought that was part of the intention of presenting these two plays).
In my own opinion, some of the costumes were a little strange. Some a little overdone, while others too "normal". Claudius's crown elicited a few unintentional giggles from the audience, and proved to be a popular topic of discussion at the interval. R&G's cloaks seemed to be graduation gowns that someone had quickly gone at with a paintbrush. However it was very effective when two of the players turned up in the same outfits. Good to see Dean Schulze wearing some of his work clothes on stage too.
Music, sound and lighting effects were all very good, although some of the lighting cues were a bit slow. On a couple of occasions, characters were left in a freeze waiting for a blackout or lighting change.
These are just minor quibbles. Overall, this was one of the most enjoyable performances I've ever seen, and certainly the best production of R&G. The script is a modern classic, with cheap (but hilarious) jokes for the casual viewer, balanced against existentialist musings for the closet psychologists. The audience was simultaneously rolling in the aisles and marvelling at the talent of the author and cast.
It's a three-act play (with one interval) and it still manages to finish at the thoroughly respectable hour of 10:15pm. If you are tempted, but discouraged by the Shakespearean association, rest assured that it doesn't dominate. There are only three more performances, Thurs, Fri, Sat, 4, 5, 6 July. Highly, highly recommended. Well done to GRADS yet again.
JB
Re: Ros & Guil Are Old
Thu, 25 July 2002, 12:08 am Daniel Carey wrote:
> "With the amount of new work going on and the talent of
> writers and directors in our own country, yeah and in our
> own state, too, why are we subjected to the same old stuff."
Plays like R&GrD may be "old" but there are always going to be new audiences who will see a fresh production as "new".
This is the same with all artforms - look at the way the music industry can't do anything BUT recycle these days..kids will look at you amazed when you can hum along with the bass line to a recent Eminem track...not realizing it was lifted from a track by Donovan (..who?).
Quite often the whole point to doing an old play (eg, Hamlet) is to give audiences the chance to COMPARE. There is only a miniscule fraction of the audience who doesn't already know he dies in the end (...sorry!); and so the entertainment comes from seeing what the actors and director DO with it, not from any sense of witnessing a new story. Shakespeare is a tired old example to wheel out, but there are STILL productions that will surprise us by trying something NEW. (Whether it works or not is a separate debate).
In fact, this was largely the point and cleverness of Stoppard's script....taking a classic and telling it in an entirely new fashion.
Now, when it comes to flag-waving about NEW works, Daniel, you neglect to observe that some of them can, unfortunately, be produced in an entirely OLD way....
Cheers,
Craig
<8>-/=====/------------
> "With the amount of new work going on and the talent of
> writers and directors in our own country, yeah and in our
> own state, too, why are we subjected to the same old stuff."
Plays like R&GrD may be "old" but there are always going to be new audiences who will see a fresh production as "new".
This is the same with all artforms - look at the way the music industry can't do anything BUT recycle these days..kids will look at you amazed when you can hum along with the bass line to a recent Eminem track...not realizing it was lifted from a track by Donovan (..who?).
Quite often the whole point to doing an old play (eg, Hamlet) is to give audiences the chance to COMPARE. There is only a miniscule fraction of the audience who doesn't already know he dies in the end (...sorry!); and so the entertainment comes from seeing what the actors and director DO with it, not from any sense of witnessing a new story. Shakespeare is a tired old example to wheel out, but there are STILL productions that will surprise us by trying something NEW. (Whether it works or not is a separate debate).
In fact, this was largely the point and cleverness of Stoppard's script....taking a classic and telling it in an entirely new fashion.
Now, when it comes to flag-waving about NEW works, Daniel, you neglect to observe that some of them can, unfortunately, be produced in an entirely OLD way....
Cheers,
Craig
<8>-/=====/------------
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