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REVIEW: Rosencrantz & Guildenstern Are Dead - The Island of Misfit Players

By Tom Stoppard

Directed by Thomas Eastwood



The Island of Misfit Players debuted on the Brisbane stage with an exceptional production. Their rendition of Tom Stoppard’s 'Rosencrantz & Guildenstern Are Dead' was a wild ride of laughs and profound thoughts that had the audience glued to their seats, laughing out loud, and scratching their puzzled heads all at once!


In this lengthy play, two minor characters from Shakespeare’s 'Hamlet', Rosencrantz and Guildenstern, find themselves in the spotlight. The play opens with these two buddies wandering in a strange, nondescript world, unable to remember how they got there. As they repeatedly flip a coin that lands heads each time, they question if chance is just playing a prank on them or if there's some cosmic force at play beyond their control. Meanwhile, Hamlet’s story unfolds in the background, but Rosencrantz and Guildenstern remain oblivious to the larger context, trapped in a series of bizarre events and philosophical discussions. Summoned by King Claudius to uncover the cause of Hamlet’s madness, they stumble through their detective work, often falling into confusion and comical misunderstandings. They often encounter the Player, the leader of a troupe of tragedians, who attempts to enlighten them on life’s theatrical nature, but they remain lost in the quest for their purpose. When Rosencrantz and Guildenstern are sent to escort Hamlet to England, their true purpose—and impending doom—begins to surface. Ultimately, they learn that they are mere pawns in a larger story, unable to escape the fate scripted for them.


Leading the charge were Thomas Eastwood and Alexander Blue, whose interplay and comedic timing created a timeless comedic double act. Eastwood’s philosophical musings as Guildenstern artfully clashed with Blue’s lovably bewildered Rosencrantz, creating a hilarious existential banter. The duo sustained their energy across the play’s three-hour runtime, mastering Stoppard’s complex dialogue with a natural ease. Eastwood’s dedication to Guildenstern’s often frantic existential musings brought an intriguing contrast to the play’s dark humour. Alexander Blue had a childlike curiosity as Rosencrantz, which brought warmth and plenty of humour to a character destined for tragedy.


Playing the oh-so-theatrical Player King, Alexis Beebe brought a magnetic presence to the performance, blending charisma and enigma in every line she uttered. Beebe's portrayal spiced up the play's exploration of fate and showmanship, enriching every scene she was part of. Connor Scoble’s Hamlet was a rollercoaster of melodrama. His over-the-top interpretation contrasted the serious tone of 'Hamlet', offering moments of pure absurdity that fit perfectly within Stoppard's vision. His disassociated expression and intense delivery highlighted the play’s meta-theatrical themes. Liam Kenny was impressive in his versatility, shifting between the ominous Claudius and the silent but expressive tragedian Alfred. His character work gave Claudius a surprising depth, complete with a flawless accent, while his portrayal of Alfred displayed an endearing vulnerability in the troupe’s scenes.



The ensemble brought a cohesive, vibrant energy to the production, enhancing each scene with physical comedy and a strong commitment to the absurdist nature of the play. Thomas Eastwood’s direction and delivery emphasised Stoppard’s sharp wit and layered humour, making the play both accessible and enjoyable while preserving its philosophical depth. Through careful attention to timing and physical staging, Eastwood ensured that even the wordplay-heavy scenes were brought to life with clarity, enabling the audience to engage more easily with the fast-paced dialogue. Visually, the production was well-realised, with set design and costuming that reinforced the timeless, liminal quality of the play’s world.



While the production’s three-hour length didn't exactly fly by, each scene built upon the last, layering comedy and existential reflections into a rewarding experience that encouraged the audience to laugh and ponder in equal measure. 'Rosencrantz & Guildenstern Are Dead' was an ambitious and rewarding debut for The Island of Misfit Players. This production not only did justice to Stoppard’s complex script but brought it to life in a way that was fresh, accessible, and endlessly entertaining; a highly promising start for this talented new theatre company.



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