“Words. Words. They’re all we have to go on!”

Ok. So. I accept the fact that once you read the title you didn’t really want to read the review. I mean, when you think about it, an existential comedy written by Tom Stoppard in the manner of Samuel Becket’s Waiting For Godot, bringing us a perspective of Shakespeare’s Hamlet as seen through the half lidded eyes of the melancholy Dane’s two hapless, stooges Rosencrantz and Guildenstern... might give one pause. It might even stop one cold. You might ask yourself, “What if I don’t get it? Would that mean I’m stupid? And will there be a quiz afterward?” But reading this review would be better then to have gone and not known what the hell they were going on about. I mean, spending a few minutes reading something is better than sitting and having your butt cheeks go numb for almost three hours. At least you could go to the john when you wanted to. That is why I didn’t think about it...or ask where it was.

Rosencrantz and Guildenstern Are Dead has been successfully produced for the Broadway stage and is performed by colleges and professionals all over the world. The power of the play is in the words and it takes actors with skill and talent to master the “game” and present it without leaving those in attendance trailing behind for want of explanation. The ODU Theatre Arts Ensembles’ production succeeded more often then it failed to fully realize Stoppard’s play.

From lights up NICHOLAS THORNBURG’s Rosencrantz sets the tone with his casual acceptance of the bending of the laws of probability - calling “heads” in 88 consecutive coin tosses and winning. BRIAN BARBER’s Guildenstern keeps flipping the coins, complaining of a lack of suspense, and sure the laws of physics will eventually prevail. They never do. The scene is well staged and both performers deftly handled the dialogue, bringing laughter to the small audience.

Barber had a moment or two of difficulty with his lines but never seemed to falter. Overall he handled the role competently on the surface, but rarely cracked through to Guildenstern’s humanity...the threads that bind the audience to him. Sometimes the words get in the way.

Nicholas Thornburg’s Rosencrantz was more the pawn. One could see his confusion and doubt...even about his own name. One could feel for Rosencrantz and understand his resignation to his fate. Death would come as a relief and a clarification. The only spot found lacking was Thornburg’s handling of (for lack of a better description) the “box speech.” It could have been at Sam Hawley’s direction, but Rosencrantz seemed to race through the wonderful dialogue that rivals Abbott and Costello’s Who’s On First in comedic word play, causing it to fall flat. Otherwise Nicholas’ performance was the highlight of the production.

EMILY ABIGAIL MATZEDER’s portrayal of The Player was intriguing to watch. She came on like a Ringling Brothers ring master, commanding her “actors” and schmoozing her potential audience out of a coin or two. Ms. Matzeder added zip to every scene she graced, though by Act 3 her vocal cadence began to remind me of Captain Kirk urging Scotty for more power from the warp core. Her colorful patchwork jacket was the costume hit of the evening. In comparison the rest of the costuming proved somewhat unimaginative.

The production took a dip when the Danish court appeared on stage. The scenes seemed to drag and diction was not at a premium. WILL KILMER’s Hamlet was practically unintelligible. Hamlet was from Denmark, but his English was reported to be very good.

Sam Hawley staged the production beautifully making use of every corner of the Stable Theatre’s black box. The action flowed smoothly from all sides.

Rosencrantz and Guildenstern Are Dead as performed by ODU’s Theatre Arts Ensemble is a worthwhile effort and deserves to be seen. It is a pleasure to watch those that dedicate themselves to the perpetuation of the performing arts endeavor to succeed. They deserve our support.

R&G runs through August 20th at the Stables Theatre in ODU.