Vic Vic Hooray

Last night, I went to see a live screening of Rosencrantz and Guildenstern Are Dead by the National Theatre from the Old Vic in London.

It’s one of those plays that’s often referenced – particularly by Radio 4 types – but rarely seen performed, and it’s the one that placed Tom Stoppard squarely on the map when it was first performed at the Edinburgh Fringe in 1966. And that’s the bulk of what I knew about this icon until yesterday.

This performance was fronted by Daniel Radcliffe and Joshua McGuire as the eponymous men, while David Haig took the role of The Player. I found each of these to be perfectly cast: the former two respectively forming a straight-man-and-comic act, and the latter inhabiting the part without being tempted to overact.

Rosencrantz and Guildenstern
Rosencrantz and Guildenstern (Photo credit: Wikipedia)

Throughout the play, there are key scenes interpolated from Hamlet. While it isn’t necessary to have seen that play to enjoy this one, anyone who does would be at an advantage, as the speech in these interpolated scenes retains Shakespeare’s original words. Yet when we hear Rosencrantz and Guildenstern speak with each other, the dialogue is in 20th-century English, switching to a more Shakespearean cadence when they converse with outsiders. This technique shouldn’t work, but we’re so swept up in the action that the code switching barely matters.

I can’t pretend to have caught every word, owing to the dense wordplay with philosophical overtones, often delivered at a breakneck pace. I feel that a second viewing might fill the holes in my recollection.

There also appeared to be a different dynamic between Rosencrantz, Guildenstern and Hamlet. Whereas in the original play, Hamlet seems excited to meet his old friends despite his grief, this doesn’t come across in Stoppard’s version. What we see here is Hamlet largely uninterested in anyone else because of his grief.

Any playwright who borrows wholesale from Shakespeare has to understand what they’re doing, and it’s clear that Stoppard did. He doesn’t parody Hamlet, he expands upon it, creating what we might today call fanfiction. And it’s expanded past the point of a pen portrait or a short story to become a feature-length production that enhances our understanding of Rosencrantz and Guildenstern as characters, as men and as friends.

I’ve now been to see several National Theatre broadcasts at the cinema. The experience has always been a positive one, but I can detect something of a reluctance. It’s as if a live transmission is something the National Theatre feels obliged to do to gain an audience, not a move they actively want to take.

There is also the uncanny disconnection between the cinema audience and the actors. Conventionally, a theatre audience will applaud at the end to show their appreciation. A cinema audience, on the other hand, will hardly ever applaud even when the showing isn’t pre-recorded – although I experienced one exception after I, Daniel Blake.

This should not be read as a criticism of the National Theatre, but as encouragement to keep up these broadcasts. I live many hundreds of miles from London; other than travelling there one weekend, this is the closest experience I’ll have to being at a West End production. It’s a jolly good show all round.

Rosencrantz and Guildenstern Are Dead runs at the Old Vic until 6 May 2017

Ready to Play.

Having been flat on my back with illness last week, I missed the chance to go to a play on 25 June called Shape of a Girl at the Little Theatre in Dundee. It tells the story of a Canadian girl who was bullied and subsequently found dead. I’d been invited by a friend, playwright Mark McGowan, who is involved with Dundee Dramatic Society.

By last Friday of that week, I was feeling much better, and Mark invited me on a backstage tour of the theatre used by the society. It really is a little place: more like a large house than a venue. The auditorium seats just 100 people, and I saw the actors holding an intense rehearsal session there for a show that opens in August. Backstage is upstairs in the attic space, accessed by wooden staircases at the sides of the stage, yet it houses a green room, costume store, sewing room, and a coffee bar.

As Mark persuaded members of the company to sign up for his latest production, I spoke with one of the actors. The theatre group has lasted around 90 years, and we discussed how it has managed to remain in its own niche against comparable venues in the city, and the potential threat from a cinema that is due to open across the road.

I also flipped through an index of plays, each with a summary of the plot and required number of actors. Between the ages of twelve and 14, I had a brief acting career through the National Youth Music Theatre. It now strikes me just how difficult it must have been to find a suitable script so we all had a part. Similarly, Dundee Dramatic Society are volunteers, so there is little control over the age and gender of the players.

I’ve only once tried my hand at playwrighting, and I enjoyed the process. The group that runs National Novel Writing Month used to run a similar event in April called Script Frenzy where participants were challenged to produce a 100-page script during the month. Many of my local SF group chose to produce screenplays, but I elected to write for the stage as it needs only two actors.

I haven’t redrafted the script since it was written. But I’m confident I’ll one day return to it, tighten up the dialogue, iron out any plot holes, and see it performed.