By John Lyle Belden
It’s only natural to wonder what roles we fill in the big story of our lives. You feel like the star of your own narrative, but imagine what an unseen audience might think – what if you’re someone else’s supporting character, or merely an “extra”?
Sir Tom Stoppard, who recently passed, considered the minor characters’ point of view in his early masterpiece, “Rosencrantz and Guildenstern Are Dead.” Existing in its own reality (with a vague resemblance to 16th-century Denmark), two characters from William Shakespeare’s “Hamlet” sense that they have a purpose, but they have difficulty remembering what, or why.
Eclipse Productions of Bloomington, which enjoys works that draw the audience in with an entertaining approach to thought-provoking theatre, present “R&GAD” in their quirky style. I find it interesting that three of the company’s founders have fully immersed themselves in the play – Konnor Graber as Rosencrantz, Jeremy J Weber as Guilenstern, and Kate Weber is the director. Their sense of introspection may not be all acting.
We meet them in a place where the coin comes up heads more than 90 times in a row. They were summoned from… somewhere… and are called on to do something. Of that much, they are certain. Assistance arrives in the form of the Player King (Chandler Deppert), leader of a group of Tragedians who appear like something from a Goth circus, or players in a Haunted House attraction. These thespians specialize in tales of bloody death and are thus on their way to perform for Prince Hamlet.
The Mechanicals are Sonia Velazquez, Jo Moran, Megan Canonica, Luna DeCastro, and Dan Heise as Alfred.
From here, our lead characters find themselves in and out of the bigger play, meeting crafty/crazy Hamlet (Sam Durnil), Polonius (Tom Trent), Ophelia (Savannah Sexton-Wisley), King Claudius (Rene Llewellyn), and Queen Gertrude (B. Stryker DeLong).
It helps to know the Shakespeare work, but not entirely necessary – understand at least that the acting troupe was also a part of that drama, performing a play-within-the-play at Hamlet’s instruction to prick the conscience of the King. Other clues to the plot of “Hamlet” are scattered throughout, observed or discussed by R&G.
Deppert is engaging and wily with a sense of glorious purpose as the Player King. Excusing his antics with “We’re actors; we’re the opposite of people!” he embodies both a part of this surreal environment and a critique of it.
Weber displays nervous energy as Guildenstern, adamant to gain some understanding of what is happening. Meanwhile Graber is easy-going and a bit fey as Rosencrantz, curious but reluctant. Their minds are sharp, though, honed with the games of Questions.
It is left to us to consider what exactly is happening with these gentlemen, and where they are. Are they souls in Purgatory? Two-dimensional figments of the Bard’s imagination given sentience? Mr. Stoppard’s fever dream? The play’s the thing, as someone once said.
Kudos to Sexton-Wisley and Vera Wagler for special FX and makeup. Yasheka Solara choreographed the dancing featured in a couple of scenes.
For a wonderful examination of one of the greatest stage tragedies through the eyes of a couple of bit players, discover “Rosencrantz and Guildenstern Are Dead,” Friday through Sunday at The Constellation Playhouse, 107 W. 9th St., Bloomington. Get info and tickets at eclipseproductionscompany.com.
Plays with John & Wendy 