An extremely stylish and sleek rendition of a growingly popular play.
The year-round Edinburgh theatre scene has had a resurgence in absurdism. Theatre practitioners are experimenting and audiences are invested, while critics continue to flail at its mere presence. This is an exciting backdrop, one filled with potential, for Gutter Theatre’s debut production of Stoppard’s Rosencrantz and Guildenstern Are Dead.
This rendition, directed by Jane Morgan and Rue Richardson, is an extremely stylish one, and these aesthetics are well thought through.
The lighting design by Zara Bathurst is exceptional. Discrete lighting changes make up important transitions, while acts are bookended with bold projected visuals and certain sequences (like the fight on the boat) incorporate excellently choreographed design. The same goes for the sound design by Ella Catherall; while more subtle than the visuals, the eerie music and sound effects do a great deal for the play’s atmosphere.
Costumes by Eliza Beecroft, Morgan, and Richardson offer the biggest indication of Gutter Theatre’s creative intent. Characters enter wearing an explosion of clothes from a variety of time periods (think rufflenecks mixed with leather jackets) and accessories galore. It is like looking at every rendition of a Shakespeare play meshed into one. The result is an ensemble that looks fractured with innumerable iterations, appearing as if they were parodying the very form itself, which is a fitting yet fresh interpretation of the source material.
To fit these aesthetics, performances are doleful but erratic. This direction is clear and consistent throughout the cast, with some standouts being Amelie Berry as The Player, who was a thrill to watch, and Robbie Morris as Claudius, who brought a great deal of stage presence to a more limited role. As for the title roles, Shaun Hamilton is a commanding performer in the role of Guildenstern. While the character’s frustration could rise a little further, there are other emotional turning points that Hamilton earns entirely. His counterpart, Callum Porteous, is a fine actor in the role of Rosencrantz, with memorable and humorous moments to keep the audience on its feet.
The biggest flaw in this version is that Rosencrantz & Guildenstern feel as though they mix right in with the ensemble. When the ensemble was on, I found myself leaning forward. But this is an absurdist piece, and Hamlet is only a framing device. The absurdism arises from the two characters being trapped in a script that they cannot get out of. The fact they don’t mix in with the world around them is their tragedy, and their lack of knowledge is written as a hilarious dramatic irony.
While Gutter Theatre pushes tragic aesthetics, the source material is full of comedy begging to be laughed at. This production does have its funny moments, but the balance is somewhat off. More emphasis on the piece’s absurdist comedy in the future will push this piece further. If the comedy is elevated, the tragedy will follow suit.
Pacing is the only other concern. Currently, the show has two intermissions. During the first a structure is built, but it is not used in any meaningful way in the second act. Unfortunately, these first and second acts underpin the monotony and repetition of the conflict. Breaking it up like this potentially spoils the illusion. Perhaps this was to evoke impending doom and, if so, I’d recommend exploring other ways to indicate this.
Ultimately, what Gutter Theatre has accomplished is a stylish and unique take on Rosencrantz & Guildenstern. And while there is room for improvement, Stoppard’s text is carried well by these confident performances. It is worth the watch, and it is worth tuning into whatever this theatre company does next.
Rosencrantz and Guildenstern are Dead continues its run at Assembly Roxy tonight and tomorrow. Tickets here.