Reviews: Rosencrantz and Guildenstern Are Dead at Falls Church High School
Written by Edlyn Becton of DC International School
"Whatever became of the moment when one first knew about death?" For the audience at Falls Church High School's Rosencrantz and Guildenstern are Dead, death is first introduced in the very name of the show. It is one of many questions explored by the show's namesakes, two minor characters from Shakespeare's Hamlet, as they adventure through the plot they are supposed to belong in and ponder their identity, purpose, destiny and existence, unaware of their impending deaths. Written by Tom Stoppard and premiering in 1966, Falls Church's production did justice to the play's absurdist genre, as actors paired the silly with the contemplative, supported by minimal but symbolic technical elements.
Rosencrantz and Guildenstern, played by sophomore Michael Greco and senior Miles Alexander, respectively (or is it the other way around?), balanced distinct characterization with being a fluid duo. Not once leaving the stage for the entire two-and-a-half-hour play, their rapid-fire delivery of convoluted dialogue never missed a beat. The two played off of each other, with Greco's confident physicality and Alexander's tasteful line delivery keeping the audience engaged throughout the circular plot. They delivered a nuanced performance, conveying deep philosophical undertones through lighthearted conversation, ranging from silly comedic bits in the opening scene to dark displays of emotion as they neared their demise in the second act.
Contributing to the meta-ness of the show, the Tradegian acting troupe (Evet Tran, Jackson Sites, Kaitlin Meyers, Sydney Applehans, Sydney Glenn and Nelli Garcia) managed to put on a play within a play within a play. Unafraid to commit to the bit, their physical comedy elicited both uncontrollable laughter and deep reflection, as the Tradegians displayed countless ways to die, and, unbeknownst to them, acted out Rosencrantz and Guildenstern's fates before their very eyes. Playing the troupe's leader, known simply as 'The Player', Sasha Wendell's unflappably confident delivery channeled true thespian energy and, through comedic lines and absurd gestures, kept the characters' stories moving towards their inevitable end.
As a comedic actor in its own right, the set (Kristina MacFarlane, Zachary Napoli, Michael Greco) supported the actors by giving them countless levels to play with and secret entrances from which to comically enter the stage. The set even embodied the existential nature of the script itself; as The Player said, "every exit is an entrance somewhere else", and the set's trapdoors allowed seven hidden Tradegians to emerge Mary-Poppins-style from three barrels onstage, making sure the audience never knew what would come next.
Also providing a symbolic throughline for the play was the skilled lighting by Chloe Brown and Ben Belote. Dappled light at the end represented the circular plot, ending the show the same way it began, in addition to shadows and darkness symbolically encroaching upon the waning lives of the two main characters. Lighting also conveyed the much-contemplated passage of time, with colors and brightness ranging from yellowish sunrise to clear blue daylight to dimming dusk, fully immersing the audience in the story.
With a deceptively challenging show at hand, Falls Church High School successfully managed to bring acting and tech together as one to strike a balance between absurdity and pensiveness. Although you may leave with more questions than answers, of one thing you can be certain: the resounding power of theater to illustrate the human experience, through an intimate reflection that transcends the invisible fourth wall between actors and audience.
Written by Myles Rathke of Quince Orchard High School
What happens when the "minor characters" realize they're trapped in someone else's story-- and worse, they can't remember their lines? Welcome to Falls Church High School's "Rosencrantz and Guildenstern Are Dead," where coin flips defy logic, conversations chase their own tails, and two bewildered men discover that existing on the edges of a tragedy might be the greatest existential joke of all.
Written by Tom Stoppard and first performed in 1966 at the Edinburgh Festival Fringe, "Rosencrantz and Guildenstern Are Dead" quickly became an important work of modern absurdist theatre. The play reimagines Hamlet from the perspective of two minor characters-- Rosencrantz and Guildenstern-- as they struggle to understand their purpose while drifting toward an uncontrollable fate; blending sharp wit, philosophical inquiry, and existential humor into a uniquely inventive and enduring piece of theatre.
The success of the production rested heavily on the performances of Michael Greco and Miles Alexander as Rosencrantz and Guildenstern, who remained onstage for nearly the entire show with remarkable stamina and focus. The two demonstrated seamless chemistry, playing off one another with precision to create a dynamic that highlighted both contrast and versatility between the characters. Making full use of Stoppard's script, they delivered its wit and complexity with clarity, while also embracing physical comedy and well-timed fourth wall breaks that brought consistent humor to the performance. Their energy and commitment ultimately elevated the production, making it an engaging and thoroughly enjoyable experience for the audience.
Sasha Wendell brought a vibrant spark to the role of The Player, crafting a character that was delightfully animated, mischievous, and impossible to ignore. With a sly, knowing demeanor and impeccable comedic timing, she leaned fully into The Player's role as the show's theatrical ringleader. Additionally, Wendell's showman-like confidence and energetic, magnetic tone often dominated the stage, using movement and voice to shape the space around her in perfect contrast to Rosencrantz and Guildenstern's passivity.
The Tragedians-- Jackson Sites, Kaitlin Meyers, Sydney Applehans, Sydney Glenn, Nelli Garcia-- along with Alfred, played by Evet Tran, formed a strong ensemble that consistently kept scenes moving with clear teamwork and timing. Their collaboration brought energy and humor to each moment, helping maintain momentum throughout the play. As a group, they balanced comedy and theatrical style well, adding steady comedic relief while supporting the larger world of the production.
The set design by Michael Greco, Kristina MacFarlane, and Zachary Napoli demonstrated style and strong creative ingenuity throughout the production. Their static set incorporated detailed textures such as aged wood and cobblestone, effectively establishing a period-appropriate atmosphere. Subtle yet effective stagecraft elements-- including three concealed trap doors and large barrels-- allowed for surprising entrances and the illusion of hidden or multiple actors, enhancing the play's sense of theatrical magic. Overall, the design also offered multiple levels and playing spaces, giving the actors dynamic opportunities to use the stage fully and imaginatively.
The lighting design by Chloe Brown and Ben Belote was subtle yet highly effective, making thoughtful choices that supported the storytelling without overwhelming it. Their use of the cyclorama was especially impactful, gently shifting to suggest changes in time of day, mood, and the presence of characters. Even simple moments-- like a focused spotlight isolating a plotting Hamlet beneath an umbrella-- added clarity, tension, and visual storytelling. Overall, their lighting design enhanced the realism and sense of time within the production while quietly elevating the stage picture throughout.
Overall, Falls Church High School's production of "Rosencrantz and Guildenstern Are Dead" encapsulated humor, confusion, and existential questioning, making not knowing the answer feel like the whole point.