Rosencrantz and Guildenstern are alive... at the Swirnow

The first Barnstormer production of the year, Tom Stoppard's Rosencrantz & Guildenstern are Dead, was extremely well-received by a packed house at the Swirnow Theater. The two-and-a-half hour work, directed by Michael Pokorny and produced by Brad Fuller and Sara Marten, is a sympathetic look at the two unenviable characters in Hamlet, whose life experience consists of genesis, demise and little else. Existing entirely within the vague parameters outlined in Shakespeare's play, Rosencrantz and Guildenstern extensively explore the laws of probability and fate that require them to be reactive participants in their own reality.

Assuming that any member of the audience will be at least somewhat familiar with Hamlet, Stoppard wastes no time in explaining that his play is, in fact, the action that goes on behind the scenes of the Shakespearian classic. The complication arises when it becomes apparent that the only characters who have the time to actually contemplate the inexorable melodrama unfolding around them are they whose presence is not constantly required, and who thus have the least ability to sway the flow of the "onstage" action.

As the compulsively quizzical Guildenstern, Loren Dunn conveyed the degeneration of a literal mind with convincing skill, moving comfortably within the often convoluted dialogue that Stoppard (and Shakespeare) employ so well. Likewise Brandom Nielson created a charmingly befuddled Rosencrantz, revealing a startling layer of introspection beneath his character's determined incomprehension. The abilities of both actors became increasingly apparent as they deftly maneuvered through the challenge of portraying characters who so lack fulfillment that they query whether it is "too much to ask for a little sustained action."

Hurrying through the indefinite backstage to which Shakespeare has relegated Rosencrantz and Guildenstern, the principle characters of Hamlet appeared in dizzying and brief succession. Maxwell Sobolik played a darkly blasZ Hamlet, while Jennifer Saito made much of her small role as Ophelia, indulging the obvious melodrama of her situation. Similarly, Joanna Chan (Gertrude), Neil Bardhan (Polonius) and David Klein (Claudius) made condescending mimicry of any straightly played precursors acting in their respective roles.

Sophomore Joseph Del Senno described with enthusiasm the opposing dynamics exhibited by the "wishy-washiness" of the protagonists of Hamlet, as compared to the strength and profundity of the proverbially background protagonists of R & G. "Only Rosencrantz and Guildenstern were vivid characters, while the others seemed watered down, which made for an ironic reversal of their roles in Hamlet," said Del Senno.

Jerry Wu, as The Player, and his Greek chorus of Tragedians (played in highly entertaining fashion by Eric Jabart, Tim Rhue, Steve Schenck and Mark Shaffer), took the audience into the backstage of his theater troop, exhibiting the dress rehearsals for the most famous play within a play, by which Hamlet proves his knowledge of his uncle's guilt. Here, however, Wu states calmly, "We do the things on stage that are usually done off..." His smarmily charged portrayal of The Player aided the forward progress of a highly wordy play in which no comment is considered insignificant. If not for him, R & G might have sank under the weight of its own heavy philosophizing and convoluted dialogue.

As Alfred, the perpetually put-upon portrayer of women in the tragedians' scenes, Michael Boucher was comic and most fetching in a red slip.

It is perhaps very fitting that a play which concerns itself with confusion, bewilderment and fate and requires a thorough knowledge of Hamlet and literature should start off the theatrical year.

Freshman Alex Smaliy observed that he found the production a very fitting one for the commencement of University-- he had to use all the knowledge that he hopes to compound over his four years at Hopkins to understand the action.

Freshman Louisa Conklin similarly identified with the plight of the main characters. "Orientation feels like a play where everyone knows their role, except for me!"

The majority of the audience's evident enjoyment might suggest that several years at and around Hopkins lend increasing humor to a situation that all college students hold in common-- an out-of-control confusion in which one can scarcely determine one's own name, much less a viable destination. No matter where you're coming from, the Barnstormers' production of Rosencrantz and Guildenstern beautifully highlighted the deft manipulation and analysis required to make timely entrances and exits in life.