Rosencrantz and Guildenstern Are Dead

July 17 to August 2 | Main Stage

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The Absurdly Funny Comedy About Shakespeare’s Famous Tragedy

By Tom Stoppard
Directed by Jason King Jones

July 17 to August 2 | Main Stage

Lost in a Shakespearean drama they barely understand, two glorified extras from Hamlet stumble into the spotlight. Watch as our hapless heroes flip coins (which mysteriously keep landing heads), ponder the meaning of life (spoiler: they don’t figure it out), and wonder if they’re actually the main characters in someone else’s tragedy. Occasionally, the “real” play crashes their existential party, sending them into a panic of “Wait, which one am I again?”

Tom Stoppard’s brilliant Tony Award-winning comedy flips the Danish prince’s story sideways. It’s tragically hilarious, philosophically ridiculous, and utterly unmissable!

Catch it in repertory with Hamlet for the full experience —double the Denmark, double the existential crisis! No knowledge of Hamlet required, though seeing both shows may answer the question “What the heck was happening in the other play?” Or not. We make no promises.

Running Time: Approximately 2 hours and 30 minutes, with one 15-minute intermission.
Content Advisory: Contains mild adult language, some dark humor, and occasional references to violence and death.
Recommended Age: 13+

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Show Extras:

-Opening Night, Friday, July 19: Join the PSF actors and staff for a friendly post-show champagne toast.
-Director’s Dinner- specialty dinner themed to the play with behind-the-scenes insights: Wednesday, July 23, 5:00pm.
-Meet the actors for an informal talk-back after the show: Thursday, July 24.
– Audio Description & Open Captioned performance: Saturday, August 2, 2:00pm.

Show Features

Rosencrantz and Guildenstern aren't dead yet

To talk about Rosencrantz and Guildenstern Are Dead is to talk about life in the margins—the margins of a story, the margins of history, and perhaps the margins of our own lives. In Tom Stoppard’s 1966 breakthrough play, Rosencrantz and Guildenstern exist between the lines of Hamlet, summoned to Elsinore to serve a purpose they never fully understand. In Shakespeare’s play, their lives and deaths unfold offstage, out of sight, as footnotes in Shakespeare’s grand tragedy. Stoppard invites us into those margins, elevating the incidental characters to center stage.

This inventive approach to storytelling is what first drew me to Stoppard’s work. In college, I directed his absurdist one-act After Magritte, a play that, like Rosencrantz and Guildenstern, delights in taking ordinary characters and tossing them into extraordinary, nonsensical circumstances. After Magritte isn’t Stoppard’s best play (though it did inspire my passion for mid-20th century absurdist painters), but his expansive intellect and wicked humor inspired me to learn more.

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