Can a play which unapologetically ridicules and riffs upon a classic work of literature qualify as a classic itself? If so, Tom Stoppard’s 1966 gem Rosencrantz and Guildenstern Are Dead certainly fits the bill. Tonight, the Edinburgh University Theatre Company (EUTC) delivers a superb performance of this absurdist, existential and relentlessly hysterical text in the glacial environs of Bedlam Theatre.
For those unfamiliar with the play, Stoppard purports to tell the most famous story in the history of literature through the eyes of its two most minor characters. The eponymous duo are childhood friends of Prince Hamlet, sent for by his treacherous uncle and commanded to first wheedle information out of him, before escorting him to his death in England. In the event, Hamlet nimbly outfoxes both of them and returns to his homeland to avenge his father’s death.
In this surreal and subversive version of the play, the minor characters are brought to the fore and Hamlet is relegated to the role of supporting cast; Rosencrantz and Guildenstern (and, to a lesser extent, The Player) are given starring roles in their own farcical investigation into life, the universe and their particular role in it. Stoppard is a master of logical redundancies and rhetorical somersaults, and the breakneck speed of his supremely clever wordplay does not relent throughout.
The titular duo, played by Michael Black and James Strahan, are to be commended for not only their ability to retain the sheer volume of dialogue contained in the play’s three acts, but also their onstage chemistry and relentless back-and-forth delivery of the material. Louisa Doyle is similarly accomplished in the role of The Player, while honourable mentions must go to Luke Morley as Alfred and James Sullivan as The Player Uncle for their brilliant facial expressions; both elicit several laugh-out-loud moments without delivering a single line. Will Hughes’ doddering Polonius is another source of hilarity in every scene he appears in, not least for his ridiculous beard and exaggerated stoop.
Black, however, is the undoubted star of the show, and EUTC surely have a future star in the making on their hands here. Paired with Strahan’s straight man, Black has free reign to show off his impeccable sense of comedic timing and immediate charisma, making his monologues and musings the highlight of the production.
Upon entry into the Bedlam cafeteria, hot water bottles are advertised for rental. It might sound preposterous to need such home comforts whilst out at the theatre, but those looking to attend the show should pay heed – it is bollock-shiveringly cold inside and if you don’t come suitably wrapped up, there’s a real danger your feet will fall off before the performance is over. That being said, by all means don’t let it put you off attending as the EUTC do great justice to this classic of modern theatre. Just wear thicker socks.