Word: rosencrantz
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...ROSENCRANTZ AND Guildenstern Are Dead is a play about death in more ways than one. Proceeding at the pace of a funeral dirge, its funniest lines are shrouded in sepulchral solemnity, while its supposedly climactic soliloquies are greeted, by a flurry of unsolicited chuckles. When Rosencrantz, after discovering Hamlet's forged letter ordering the pair's execution, sighs woefully, "To tell you the truth, I'm relieved," most of the audience chortles in agreement...
...Rosencrantz & Guildenstern Are Dead. Perhaps no plat has passed so quickly into the standard repertoire as Tom Stoppard's early masterpiece. If you've never seen it, you own yourself a treat, like the first time you read Lewis Carroll or Evelyn Waugh. R & G is an actor's showcase, and if the eponymous reads are any good-you should laugh from the beginning until the surprisingly, tender conclusion. The play is about two characters in search of a language and contains the most brilliant wordplay on the English stage (always rich in wordplay) since Shakespeare or at least Wilde...
Playwright Paul Foster is not a newcomer to the stage. His Tom Paine (1968) enjoyed substantial popularity off-Broadway, particularly with younger audiences, thanks in part to Tom O'Horgan's flamboyant staging. In Marcus Brutus, Foster has followed Tom Stoppard's lead in Rosencrantz and Guildenstern Are Dead. Just as R. & G. used Hamlet for its substructure, Marcus Brutus uses Julius Caesar...
...Real Inspector Hound is by Tom Stoppard, who wrote Rosencrantz and Guildenstern Are Dead. Paul K. Rowe '76, who usually writes this listing, saw it in London and wrote an article about how much he liked it, and no doubt if he hadn't absconded at the last possible moment and left me to fill his place you'd be reading enlightening details that radically increased your knowledge of British theater. But he did, so you won't Read the Scrutiny article instead, or check the Attica movie at the Orson Welles...
Lady in Distress. If any of us lives to see a more perfect embodiment of Sherlock Holmes than that offered by John Wood it will only be by some special dispensation of Thespis. Little known to U.S. theatergoers except for his Guildenstern in Tom Stoppard's Rosencrantz and Guildenstern Are Dead, Wood belongs among the top dozen actors of the English-speaking stage. His voice is an organ of incisive command. He moves with the lithe, menacing grace of a puma. In an instant, he can range from partygoer prankishness to inner desolation. At the core of his being...