© The Financial Times Ltd 2016
FT and 'Financial Times' are trademarks of The Financial Times Ltd.
The Financial Times and its journalism are subject to a self-regulation regime under the FT Editorial Code of Practice.
June 5, 2011 5:44 pm
If you are very lucky, once or twice in a lifetime you chance upon a writer who you feel is writing just for you, touching the utmost depths of your being. I first had that feeling with the early plays of Tom Stoppard: here, I knew, was someone speaking directly to the smart-aleck sixth-former I was at the time. Stoppard and I have both matured in the subsequent decades, but I still feel reinvigorated on revisiting this work, his breakthrough play which effectively refracts Waiting for Godot through the prism of two minor characters from Hamlet.
Every now and then we see Ros and Guil (as the script calls them for short) and/or other figures at the Danish court exchange a few of Shakespeare’s lines, before the others go off and leave the central duo to muse on the purpose of existence and its end, and to engage in rallies of high-speed, oblique Stoppardian wordplay (“The fingernails continue to grow after death . . . The toenails on the other hand never grow at all”). If this is not your bag, you will probably be infuriated by it; if you have never seen Hamlet, much of it will be Greek to you.
To those who remain, I commend Samuel Barnett’s gorgeously puppyish Rosencrantz, his fellow History Boys alumnus Jamie Parker’s more existentially insecure, but scarcely less comic, Guildenstern, and Chris Andrew Mellon (taking over at short notice from Tim Curry) as the leader of the players troupe, at once bluff and menacing, personifying the illusory and the unknown that vex our nondescript heroes.
Trevor Nunn’s production, due to move to the West End later this month as part of Nunn’s season as annual artistic director at the Haymarket, dresses all characters in period costume except Ros and Guil, whose more unspecific but thematic clothing lets them straddle our world and that of the play.
Nunn brings out the pensive undercurrents while also relishing all the possibilities for play. The latter perhaps excessively so, with a slightly distended press-night duration of two and three-quarter hours.
Nevertheless, this is an evening to delight those who enjoy laughing at clever gags not simply to show that they understand, but because they actually are funny.
Copyright The Financial Times Limited 2016. You may share using our article tools.
Please don't cut articles from FT.com and redistribute by email or post to the web.