Classes consistently bludgeon young directors to simply tell the story of theater works — stick to themes, find rhythms, push characters’ objectives and explore consequences. Then you’re given a work like Rosencrantz and Guildenstern Are Dead by Tom Stoppard, forcing you to question or challenge those teachings. After all, theater, like life, doesn’t come with rule books or straight-forward recipes to conjure success. This play is an antithesis to most theater in that it questions what to do when your story is defined specifically by some else’s story. Director Mel Resendez tackles this tough piece in North Coast Repertory Theatre’s newest production with noteworthy success.
The show is a comic book “meanwhile” to Shakespeare’s Hamlet, transforming minor characters Rosencrantz (Andrew Miller) and Guildenstern (Filip Amborski) into main characters defined only by what is known of them through the arguably most famous and popular theater piece of all time. With the help of the Player (Merrick D. Yra), his company (Kahvi Zvaleko, Chuck Supple, Todd Chittenden, River Keller, Rosalyn Long, Dominica Savant-Bunch), and sprinkles of Hamlet’s main characters (David Hamilton, Caroline Needham, AJ Hempstead), they volley absurd lines that ponder existentialism, destiny, fate and self-realization.
If it seems heavy and contrived, it is — without apology. Stoppard juxtaposes the erudite lyricism of Shakespeare with Naked Gun-style buffoonery that’s clever and funny, and thankfully dilutes the philosophical explorations for the perfunctory theater goers (like me). Resendez tries to keep the show airy, focusing on slapstick and the abundant non sequiturs that keep the audience engaged with laughter. She also utilizes a Brechtian style that delivers the more collegiate lines directly to the audience. The choice works. It highlights the individuality of each actor and ushers in some powerful performances. However, it also prohibits them from internalizing the many questions the show poses and robs them of the shared character growth essential for later scenes. As a result, the fine balance between intellectual substance and enriching plot is challenging. I would have loved a deeper development and connection between the main characters — the comedic effect lessens as the show progresses without it.
Yra’s performance solidifies how exceptionally talented and knowledgeable he is. He capitalizes on irreproducible, in-the-moment interactions expertly vacillating between the audience and fellow actors, confident and commanding, to heighten every scene he is in. He also leaves a spirit of excellence in his absence, encouraging others to rise to his level even when he is not on the stage. His performance is as technical as it is inspirational. Amborski utilizes a more reserved technique, a pensive approach to figure out his disposition with a fight to understand what is written as rhetorical. Though he is more casual than in other performances for an actor of his caliber, he is just as poignant and energetic. Miller plays Rosencrantz like a loveable dimwit. Though it is a valid and sweet performance, rooting his voice in a lower octave could unlock a greater emotional range for the maturity of character needed for the role. Instead, it plays more like a doofus juvenile than the deep simpleton I wanted to see. Still, it’s a good performance and I look forward to seeing more. Hamilton, Hempstead and Needham are brilliant Shakespearean actors with fantastic presence. I wondered if they were in Shakespeare’s world or the absurdist version of it through Stoppard’s perspective. Perhaps a stronger choice for one would help the audience with the show’s overall theme, especially since they all have the expertise to achieve it brilliantly.
The set (Resendez), lighting (Kaya Corcoran) and costume (Megan Hughes) designs are all beautiful, though with some questions. For instance, why is there a fireman’s pole, the quickest transition into daylight ever and a punk rock Hamlet? They are not enough to pull focus from the world but can be individually used to solidify it by going further in the design and concept. A Gothic Polonius and Gertrude flanked by a tragically ’80s Ophelia and Shakespearian Ziggy Stardust Players with Godot-ish stage randomness and otherworldly spotlights? Yes, please. Still, the designs are good and effective for the piece. Special praise to Needham for the incredible fight choreography and David Hamilton, Brian Butler and the cast for painting a set that quite literally gives me pride.
This show is not for everyone, though I think everyone should see this show. I would advise reading Hamlet, brushing up on theories of existentialism and preparing for the long haul. This show is one of the most difficult pieces of theater in existence, as it seeks not only to break the rules, but immerse the house in questions deserving of conversation with only theoretical answers. With all that, this production rises to the challenge and delivers a show worthy of the question: Who am I? Go find out.
North Coast Repertory Theatre’s production of Rosencrantz and Guildenstern Are Deadruns through April 18 at the 5th & D Street Theater. Performances are Fridays and Saturdays at 8 p.m., Sundays at 2 p.m. with a special pay-what-you-want show April 16 at 8 p.m. Visit ncrt.net or call (707) 442-6278.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
COMING SOON
Cover your carotid as Bat Boy: The Musical swoops into the Van Duzer Theatre April 3-12. Visit tickets.humboldt.edu/dance-music-and-theatre.
Ferndale Repertory Theatre’s Sherwood: The Adventures of Robin Hood opens April 3, with forest-heist adventure and comedy through April 26. Visit ferndalerep.org or call (707) 786-5483.
This article appears in ‘Everybody’s Gotta Bring Their Skills’.