Rosencrantz and Guildenstern tells the story of the two unsung heroes of Hamlet as we join them in the no-man’s-land between their bit-parts in the play, and the rest of their non-lives. As Rosencrantz confidently says, “life in a box is better than no life at all”. The two are constrained to remain within the theatrical space of the stage, as all players are, but their consciousness of their entrapment leads them into discussions of probability, death and drama as they try to understand Hamlet’s actions and their own roles. “Eternity is a terrible thought, where’s it end?”

Sam Sampson (Rosencrantz) and Rick Merrick (Guildenstern) perform the necessary verbal gymnastics with virtuosity and ease. The audience has confidence in them right from the start. The two actors play off each other magnificently and seamlessly with not a weak moment. They are aided by a strong supporting cast, including the energetic Player (Colin Burnie) and the poor unfortunate Alfred (Isobel Stowell-Kaplan)! The ‘Hamlet’ cast also provides much amusement with their inability to tell the two friends apart, and the hilarious teen-Goth Hamlet (Lucy Machon).

The first half is uproariously funny, with some wonderful tumbling and Berkoff-esque physical techniques. The verbosity of some of Guildernstern’s speeches is beautifully balanced by slapstick and his prodigious juggling skills, which are so impressive that they sometimes threaten to distract us from the delivery. However, once Rosencrantz joins in the fun in the second half, it would be easy to believe that Stoppard wrote it into the script, so suited is it to the performance. Nonetheless, the seriousness with which the pair face their betrayal and death is not undermined by the comic ability of Sampson and Merrick. The attack on the Player and the final speeches are both convincing and moving, and, in spite of the hilarity of earlier moments, the ending is hopeless and bleak as they face their own unexplained destruction.

The staging is simple but effective, with coloured juggling balls standing out against a grey and white background. This simplicity captures the sense of emptiness the two are facing, and echoes the vagaries of memory, a constant refrain throughout the play.

Poppy Burton-Morgan’s direction has captured the delicate balance between the slapstick and tragedy of these two unknowns. The laughs never come at the expense of the ‘something more serious’ that lies beneath. If I was forced to make a criticism, I might say that the second half dragged a little; overall however I came away with the impression of perfect delivery, fantastic choreography and overall poise. This is one of the best shows I have seen in my time at Oxford.