This is not an easy show, as director Alex Davis prefaced her remarks in the playbill. That’s a trenchant point. Rosencrantz and Guildenstern are Dead included themes from the disciplines of rhetoric, philosophy and mathematics. Add to that some Shakespearean dialog and an approach to action that made sitting through a Beckett play seem like watching the X-Games. Some would argue that Tom Stoppard produced the theatrical equivalent to Jerry Seinfeld’s “show about nothing.” Whatever one’s take, I’m sure most would agree it makes for some pretty deep theatre. I attended the opening night performance on November 2nd at Burlington County Footlighters.
High minded dialog combined with stretches where little action occurs puts a lot of pressure on the actors. Ms. Davis selected the perfect duo for this challenge with Josh Ireland and Matt Dell’Olio.
One of the key precepts of writing is to hook the reader with the first sentence. The same goes for drama. Mr. Stoppard proved himself quite the iconoclast. This show began with two characters discussing the results of coin tosses for several minutes. That forced the actors to interest the audience through their histrionic skills alone. Mr. Ireland and Mr. Dell’Olio deserve great respect for meeting this challenge.
The conversations seemed to shift topic randomly. While ostensibly about dry subjects on the surface, it contained serious philosophical undertones. The dialog even modulated into Shakespearean language during several scenes. Once again: Mr. Ireland and Mr. Dell’Olio didn’t allow the difficult material to impede their performances.
Mr. Ireland played a spirited Rosencrantz. In addition to his natural means of speaking, he displayed the perfect gestures. At times they reflected my own confusion with some of Mr. Stoppard’s complex dialog.
Mr. Ireland showed poise when a miscue occurred. During the opening scene one of the coins rolled into the audience. He leapt off the stage, said, “Excuse me”, took it from the spectator who had it, and resumed playing the scene. Even during this unexpected incident, he remained in character.
In 2016 Mr. Dell’Olio took delivering a soliloquy to a new level. In Dead Man’s Cell Phone he made the selfish justifications of a narcissist sound as weighty as Hamlet’s “To Be or Not to Be” oration. It seemed fitting that he’d play a role that interacted with the same character who delivered it.
Mr. Dell’Olio treated audiences to another sublime performance. He showed exceptional stage presence as Guildenstern. Mr. Dell’Olio displays a method of speaking that makes even the commonplace sound profound. Through his gestures he brings powerful emotion to his roles. It’s a testament to his abilities that even this material didn’t restrain him from delivering a Matt Dell’Olio style performance.
As The Player, Dennis Doherty delivered the funniest line of the show. “We’re actors! We’re the opposite of people!” Mr. Doherty also brought out one of the script’s most serious themes. His character demonstrated the subtext that explored the relationship between reality and art. Mr. Doherty executed both the humorous and serious attributes of this character brilliantly.
It’s quite an achievement to make madness and a hunger for vengeance comical. Enter John Hager. He transformed Hamlet into one of the funniest characters I’ve seen performed on stage. Mr. Hager selected the perfect voice for the role. Through his eccentric mannerisms, he made the audience laugh even when not speaking.
Performers Howard Goldberg, Jenny Scudder, David Rizzo, Liz Baldwin, Courtney Bundens, Joshua Kurtz, John Salera and Michael Mueller rounded out the cast.
This high minded show became a high tech spectacle. Jim Frazer’s set and lighting design established a perfect setting for the dramatic action. The use of projections and lighting created flawless impressions of nighttime and daybreak. Amanda Cogdell’s period costuming transformed the stage into a replica of seventeenth century Denmark.
Rosencrantz and Guildenstern are Dead made for an evening of sophisticated theatre. Ms. Davis added:
You could look at it through the lens of existentialism, questioning whether or not these men truly are free to choose their own paths, or if their fate is sealed and, in turn question your own reality, and whether or not YOU choose your own destiny.
The show may not be “easy”, but the choice to see it is. For those allowing fate to decide whether they should, flip a coin: preferably one of Rosencrantz’s. For South Jersey theatregoers who prefer to control their own destinies, the show runs through November 17th at Burlington County Footlighters. After that it meets the same fate as Rosencrantz and Guildenstern…and Hamlet…and Ophelia…and Polonius…and Claudius…