Acclaimed as a modern dramatic masterpiece, Rosencrantz and Guildenstern Are Dead is the fabulously inventive tale of Hamlet as told from the worm's-eye view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare's play. In Tom Stoppard's best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end.
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Praise for "Rosencrantz and Guildenstern Are Dead"
Very funny. Very brilliant. Very chilling. It has the dust of thought about it and the particles glitter excitingly in the theatrical air . . . This is a most remarkable and thrilling play. In one bound Mr. Stoppard is asking to be considered as among the finest English-speaking writers of our stage, for this is a work of fascinating distinction. Clive Barnes, "New York Times"
A masterpiece, not unlike Shakespeare s plays; it s artfully, imaginatively written, multidimensional, and hilarious. "New Yorker"
A coruscatingly brilliant, endlessly thought-provoking masterpiece. "Wall Street Journal"
In making "Rosencrantz and Guildenstern" . . . Stoppard mixed the poetic melodrama of Shakespeare with the doom-laden minimalism of Samuel Beckett and topped it with the slapstick of the Marx Brothers. "Rolling Stone"
A tour de force . . . Fascinating . . . A triumph. Roger Ebert
Astonishing a youthful prank bursting with theatrical mischief and literary flair. "Washington Post"
"Rosencrantz and Guildenstern are Dead" . . . has proved its sturdiness and power to endure . . . It is, after all, the most performed, most studied, most earnestly analyzed and strenuously anatomized of all Mr. Stoppard s plays: the foundation of his international career and the inevitable starting point for anyone wanting to appreciate him. Benedict Nightingale, "New York Times"
Full of philosophizing, nuances and complexities . . . [An] absurdist tragi-comedy . . . Stoppard s . . . writing is pristine. "Charlotte Observer"
After the first night of "Rosencrantz and Guildenstern Are Dead" at the National Theatre in 1967, Tom Stoppard awoke and found himself famous. It s still a delightful shock, every few years, to be reminded how brilliant and engaging this play remains. "Independent" (UK)
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Praise for Rosencrantz and Guildenstern Are Dead
Rosencrantz and Guildenstern Are Dead is Tom Stoppard's witty and exhilarating contemporary classic that finds both humour and poignancy in the situation of Hamlet's ill-fated attendant lords.
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