Rosencrantz and Guildenstern, beloved side duo from Shakespeare’s Hamlet, take on a life of their own in Tom Stoppard’s existential-absurdist tragicomedy. Though minor characters in the source material, I find that most of Shakespeare’s characters are more than capable of holding their own in the spotlight.
The play itself is written in normal prose, not typical Shakespearean pentameter. Despite this, Rosencrantz and Guildenstern’s dialogues are interrupted at times by the goings-on of Hamlet, where we see passages lifted directly from the original– a contrast in language which I found to add to the comedic confusion experienced by the pair. It is also a rather quick read, the work clocking in at under 100 pages. In Stoppard’s reimagination of peripheral characters, Rosencrantz and Guildenstern have been thrust unwittingly into the play-world of Hamlet and the titular pair fumble their way through the play, pondering their purpose in life and attempting to figure out the cause of Hamlet’s madness.Â
I remember first hearing about Rosencrantz and Guildenstern Are Dead in high school when studying Hamlet and did not think much of it. Studying it again in university, I decided to pick up a copy. The play is hilarious and witty and, quite honestly, a bit depressing. Stoppard expertly blends the funny and crushing elements of the idea of being lost with absurd and existentialist ramblings. Off the heels of reading Hamlet, the parallels between the two plays are clear: both deal with characters struggling to find their life’s purpose. Similarly, Stoppard plays with a heightened version of a play within a play; the structure contributing to absurdism and the plot of the play changed from the original to lend to the existentialist themes. I found this aspect particularly interesting and would have loved for the scene to be more drawn out
The most interesting character in the play is certainly the elusive Player. He is almost all-knowing and acts both in and out of the play world, seemingly breaking the barriers between real and play-world. Unlike many of the other characters, the Player is sure of himself and the role he plays in society: he and his troupe of actors will always be in demand. The Player, with a haughty air of confidence, understands the internal and external struggles of Rosencrantz and Guildenstern, and acts as a guide for the pair, leading them through the play, and ultimately to their deaths which he had previously foreshadowed. The Player manipulates the play by treating the walls between play, audience, and characters as fluid, creating a mysterious intrigue throughout the course of the play.
As a Hamlet enthusiast, Stoppard’s play was right up my alley, but I don’t think it’s for everyone. It is funny, sad, and thought provoking, but I feel that its true meaning and depth lies in understanding the source material. So, for fellow Hamlet fans, definitely check out the play and for those not as familiar, are you going to be or not to be reading Tom Stoppard’s Rosencrantz and Guildenstern?