Past performances: Rosencrantz & Guildenstern are Dead Rosencrantz & Guildenstern are Dead Directed by Darla Biccum Cast & Production Team
* ASM - Assistant Stage Manager Synopsis of play The two meander in and out of Hamlet's plotlines, eventually happening onto a path of their own, where they will meet a tragic, but inevitable, doom. About the playwright At twenty-three he wrote his own first play, A Walk on the Water , but he now considers it so unoriginal that he counts his next play, The Gamblers , as his real first play. Stoppard says he is a notorious procrastinator, and his plays tend to be written the way a student "crams" for an exam. He notes the constant problem with writing: one cannot know what to write until on begins. Yet he is prolific. He has written dozens of plays and numerous screenplays. In 1967 he introduced Rosencrantz & Guildenstern Are Dead. It was his first major play, and is perhaps still his most famous. Although Stoppard is criticized for his supposed overuse of flashy words and ideas, this same showy wordplay has brought him much admiration from most critics. Most of his plays are filled with light jokes, but they deal with dense subjects. He is generally a widely respected popular playwright and is also comfortable with writing for mass audiences. He has won three Tony awards, in 1968 for Rosencrantz and Guildenstern Are Dead , in 1976 for Travesties , and in 1984 for The Real Thing. He wrote the screenplay for the movie Shakespeare in Love, starring Gwyneth Paltrow and Joseph Fiennes, and won an Oscar for it in 1998. He wrote or co-wrote the screenplays for Brazil, Empire of the Sun, and Billy Bathgate, among others. He may have left school out of boredom, but he has written on extremely varied/complex subjects, like poetry, love, history, math, philosophy, and physics. As he says of Rosencrantz and Guildenstern Are Dead : . whatever else it is, (it) is a comedy. My intention was comic, and if the play had not turned out funny I would have considered that I had failed. Quite a lot of solemn and scholarly stuff has been written about it, which is fine and flattering, but it is worth bearing in mind that among the productions staged all over the world, two were comparative failures and both of these took the play very seriously, indeed.
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