Bard's duo more dynamic in death than life – funnier, too

Brian K. Bender (left) as Guildenstern listens to Christian Doyle as Rosencrantz try to explain their dilemma during “Rosencrantz and Guildenstern are Dead,” the current production at the Lakewood Playhouse. Photo by John Pfaffe.

By Lynn Geyer

Okay, so, "Rosencrantz and Guildenstern are Dead" — and who cares — and who are they, anyway?

To the untutored in Shakespeare, these two gentlemen are old school chums of Hamlet who are employed by King Claudius, Hamlet’s father’s murderer, to escort Hamlet abroad where Claudius entreats the King of England to execute Hamlet, however, the Melancholy Dane discovers their plan and rewrites his uncle/father’s request to have the English king exterminate the dastardly duo instead.

Now, if this is confusing to you, wait until you experience the convoluted contrivances of The Outfit Theatre Project’s production of Tom Stoppard’s never-ending laugh fest of “Rosencrantz and Guildenstern are Dead” currently playing at The Lakewood Playhouse.

The story of the two dead guys is prefaced by Stoppard’s hilarious “The Fifteen Minute Hamlet.” Just about every memorable quote from this longest of Shakespeare’s perhaps most tragic tragedy are spewed out in a mere 15 minutes while actors vie for the audience’s attention before the next scene runs headlong into the previous one.

Director Erin Chanfrau has done magical things with this whole mess — first the very short version of “Hamlet,” then with the friendly evil spirits of the deceased duo who seem earth-bound to an unknown place trying to decipher who they are and why they are where they are.

Chanfrau also designed the perfect set for this enigma — a central compass rose with two steps down from each cardinal direction, leading to the four corners of the intimate stage, which hold props forecasting forthcoming events.

“Hamlet” actually continues interspersed throughout “R and D,” bringing tidbits of forgotten knowledge to our two rogues to let them eventually fill in the blanks. It is the way Chanfrau brings this information to the duo and the audience that is the exciting frolic of this production.

From the opening moments where Rosencrantz and Guildenstern realize that there is something rotten in Denmark (and wherever they happen to be) to their gradual understanding of their plight — from their evil agreement to deliver Hamlet to England to meet his demise to their comeuppance — actors wander on and off the stage, oblivious to R and D most of the time, only recognizing them when they arrive at the parts of “Hamlet” where the two actually appear.

Never has one of the Bard’s most tragic plays been so uproariously funny!

The whole effect is beautifully added to by Kris Zetterstrom’s amazing lighting design, Joseph Kelly’s terrific sound design and JoAnne Kirly’s perfect costume design.

Fortunately the acting is just as good as the technical side of this production.

The traveling theatre company which performs “Hamlet” features Blake R. York, Seth Tribble, Phil M. Price and Joseph Kelly as Tragedians. All do ample jobs in their parts adding to the color of the production. But Kelly is amazing when playing Laertes; his wrath is rained down upon Hamlet with vehemence and hatred.

Anjelica Wolf is perfect as Alfred, a soulful young boy who doesn’t really like acting. Deya Ozburn is The Player — the leader of the strolling players. She struts and frets her moments on the stage flamboyantly as befitting an actor of the era.

Mark Peterson is a competent Claudius, the murderous uncle/father and Jenifer Rifenberry is an elegant Gertrude, Hamlet’s aunt/mother.

Jen Davis is the epitome of the saddened, happy, insane Ophelia and Damian Genette is a suitable advice-giving Polonius.

It is hard to keep from saying that Alex Smith stole the show with his characterization of Hamlet — but only because he had to share the stage with the two playing the title roles. Smith is over-the-top humorous, valiantly brave, insanely insane and hilarious revengeful!

As far as those two aforementioned title roles, Christian Doyle is Rosencrantz and Bryan K. Bender is Guildenstern. These two fall into their roles as though they have been doing them all their lives! Bender is perpetually confused and questioning while Doyle is constantly questioning and confused. Seldom are there two actors who do equally perfect interpretations of their characters. They toss witty banter about the stage as easily as they toss coins; in a word, they are both stark, raving sane!

“Rosencrantz and Guildenstern are Dead” and “The Fifteen Minute Hamlet” continue at the Lakewood Playhouse in the northeast section of the Lakewood Towne Center, next to the Pierce Transit Depot, through August 15 at 8 p.m. Fridays and Saturdays with 2 p.m. matinees Sundays. There is a Pay-What-You-Can performance Thursday July 29 at 8 p.m. and an actor’s benefit matinee Saturday, August 14, at 2 p.m.

For more information or to make reservations call the theatre at (253) 588-0042 or go online to www.lakewoodplayhouse.org.

Don’t lose the opportunity of experiencing this delightful evening of theatre or you may end up like Rosencrantz, who said, while sitting on the center of the compass rose, “I’m losing my sense of direction.”

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