The live theater scene in Santa Cruz has one more attraction for those who prefer the stage over the screen as “Rosencrantz and Guildenstern Are Dead” enters its third and final weekend of performances at Santa Cruz Actors’ Theatre.
This farcical Shakespeare-adjacent tale isn’t heavy with the “doths” and “haths” that permeate the Bard’s works; rather, the language is more modern, inviting the audience to become entangled in the pair’s troubled logic and circular arguments without the need for an interpreter.
Written by Tom Stoppard (1937-2025), the premise of “Rosencrantz and Guildenstern Are Dead” is to examine existential questions by placing two minor characters from Shakespeare’s “Hamlet” at the center of the story. Rather than following Hamlet and the other major figures, Stoppard focuses on two confused and doltish courtiers who struggle to understand what is happening and have little control over their own lives. Stoppard explores what life might look like “in the wings” — where minor characters wait for their cues without knowing the larger story or what role they are meant to play.
As the central characters in Stoppard’s play and its film adaptation, Rosencrantz and Guildenstern find themselves bewildered by the events surrounding “Hamlet,” seemingly unaware of the larger role they play in the unfolding story. Although the work is primarily a comedy, their absurd conversations frequently lead them to surprisingly profound philosophical insights. Yet, just as quickly as they arrive at these moments of understanding, they move on from them.
At different points, one character seems to have a better grasp of what is happening than the other, but that advantage continually shifts between them. Stoppard also plays on the long-standing theatrical joke of actors confusing Rosencrantz and Guildenstern because they are so similar. Throughout the play, the two are uncertain of their own identities, while other characters — including Claudius, Hamlet and Gertrude — frequently mistake one for the other.
Played by Chris Salem (Rosencrantz) and Zed Warner (Guildenstern), the pair are crisp and concise in their wordplay, with Warner frequently showing frustration and disdain for her simpleton counterpart. However, Salem’s comedic approach and timing are pivotal in exposing the existential truths that he occasionally stumbles upon, much to the chagrin of Warner.
The duo’s dynamic is made possible by their longstanding friendship and reliance upon one another to complete the task with which they have been assigned: to deliver a letter from Denmark’s King Claudius to the King of England ordering him to execute Hamlet as soon as he arrives. The letter serves as an explicit death warrant, directing that Hamlet be put to death immediately.
Unaware that they are carrying a document that condemns their friend, Rosencrantz and Guildenstern accompany Hamlet on the journey to England. While at sea, Hamlet discovers the letter while his companions are sleeping and secretly takes it. He then alters the document, replacing his own name with those of Rosencrantz and Guildenstern and instructing the English king to execute the two men upon their arrival.
The rewritten letter seals their fate. Rosencrantz and Guildenstern are executed in England, while Hamlet escapes the death sentence intended for him. Rather than facing a visible executioner, they quietly accept their fate, with the audience left to imagine their deaths.
As for the rest of the company, Ward Willats is a powerhouse of talent as “Player,” leader of a band of ragtag actors roaming the countryside in search of a paying audience. His entrance onto the stage is charged and full of confidence, creating a character that is striking and impossible from which to look away. Funny, domineering and charming, Willats rocks the stage with his presence and immense talent.
Ian Dyer brings back pantaloons in his portrayal of Hamlet, “friend” of Rosencrantz and Guildenstern. He evokes power and prestige, using 007-esque tactics to ascertain the reason for their travel to England, and shifting the call for his own execution to the hapless duo. Dyer is relatively new to the Santa Cruz theater scene and has become a force with which to contend. He commands the stage with his savvy and statesmanship-like bearing, and brings those attributes to his character.
Rounding out the principals are Andy Wadell as Claudius, and Jennifer Stanford as Gertrude, the king and queen of Denmark, both of whom play their roles with the solemnity and stature required for their positions.
Supporting and ensemble cast members are Kevin Karplus as Polonius/Fortinbras, Juno Aliah as Ophelia/Laertes, Raven Voorhees as Alfred, Nick Bilardello as the Poisoner/King, Brad Roades as the Murdered King/Polonius, Tom Boyle as Spy/Ambassador 1, and Benjamin Canant as Spy/Ambassador 2.
Stephen Phillips’ set design is austere, forcing the audience to focus on the players and not the surroundings. Director Simon Hayward has propelled his cast with a deft hand and a particular affection for Stoppard’s work, as evidenced by his Director’s Note in the program.
“Thank you for joining us in this wonderful exploration of life and death, of the tragic and the comic,” Hayward wrote. “We offer this production as a tribute to a master of English theatre. We also recognize how we may learn from those who ‘travel from home to home, taking their chances where they find them’ — tragedians are our teachers. May we then each play our roles with compassion towards whoever we may meet on our journey.”
“Rosencrantz and Guildenstern Are Dead” runs through Aug. 30 at the Santa Cruz Actors’ Theatre at 1001 Center St. in Santa Cruz. Showtimes are Thursdays, Fridays and Saturdays at 7:30 p.m. and Sunday matinees at 2 p.m. For tickets, visit santacruzactorstheatre.org.
