|
Home > Recent Projects > Rosencrantz & Guildenstern Are Dead |
|
Rosencrantz
& Guildenstern Are Dead
Presented
by the Auckland
Theatre Company
at the
Maidment Theatre, Auckland, New Zealand, May 2001
written by Tom Stoppard; directed by Colin
McColl
REVIEWS
|
|
Craig Parker as
Rosencrantz and Michael Hurst as The Player
(with the tragedians) |
Craig, Oliver
Driver as Guildenstern, and Michael |
|
|
|
|
Rosencrantz
Guildenstern
The Player
Hamlet
Gertrude
Claudius
Ophelia
Alfred
|
|
Craig
Parker
Oliver Driver
Michael Hurst
Joel Tobeck
Geraldine Brophy
Peter Elliott
Sophia Hawthorne
William Plumb |
Polonius/Tragedian
Tragedian
Tragedian
Tragedian
Director
Designer
Lighting Designer
Costume Designer
|
|
Jon Brazier
Shimpal Lelisi
Stephen Papps
Stephen Butterworth
Colin
McColl
John Parker
Bryan Caldwell
Elizabeth Whiting |
|
|
|
|
|
|
Program
notes:
From
the producer: "Why do we exist?" is a question that
dramatists have attempted to address throughout the ages.
Recently exposed pot-head William Shakespeare had a stab at
it in HAMLET, with the Danish Prince pondering the point of
his own [and others'] life before almost everyone
dies in the gruesome finale. Having met their demise
sometime before, Rosencrantz & Guildenstern do not
feature in Act V's mostly royal body count. Hamlet's two
college buddies are dispatched offstage, their passing noted
in passing with the line that Tom Stoppard had chosen to
title his take on the immortal question. Here, without
reference or context, the duo is caught up in a drama not of
their creation and beyond their control: action seems
arbitrary, false moves fatal and the ambiguous utterances of 'Actors' the only apparent insight on offer. Sounds
like a superb metaphor for life to me.
-Simon
Prast |
|
|
|
|
Home
Recent
Projects Future
Projects
|
|
Reviews
and Articles on Rosencrantz and Guildenstern Are Dead
National
Business Review: "Michael Hurst as the ebullient
Player is brilliant."
New
Zealand Herald : "Michael Hurst shines as
the Player. Resisting the obvious interpretation of a plummy
actor/manager of the old 'blood, love and rhetoric school,'
he is a gritty, spunky street philosopher and 'comic pornographer.'"
New
Zealand Herald (article
about the design of the costumes): "Hurst's costume
is the one which has changed the most in the process of evolution
from sketch to stage. On the day of the read-through, when Whiting
presented her ideas to the cast, Hurst said 'Oh, no. That's
not how I see myself.'" |
|
|
|