Review: Sock 'n' Buskin's ROSENCRANTZ AND GUILDENSTERN ARE DEAD at the Kailash Mital Theatre

This week, Sock ‘n’ Buskin presented a limited engagement of Tom Stoppard's comedy-meets-existential-crisis, Rosencrantz and Guildenstern Are Dead, at the Kailash Mital Theatre on Carleton University’s campus, a fairly ambitious undertaking of what is a complex piece of theatre.

The play follows the titular characters, Rosencrantz (Emma Parrell) and Guildenstern (Anneli Sheridan), who are themselves two minor figures in Shakespeare’s Hamlet, as they grapple with philosophical questions and their own identities and fate. The story takes place within the margins of Hamlet  and the duo are often bewildered by events beyond their control. Rosencrantz is a relatively cheerful character, if not a little dim-witted, while Guildenstern has an analytical mind (even though they are both completely lost). Their back and forth banter make up the bulk of the show, so if you don't like very wordy plays, this may not be the one for you.

The production features a minimalist set, particularly in Act One, which consists of a couple of bare platforms and sparse props. This helps ensure that the audience focuses on the dialogue rather than any visual distractions. The simple staging also serves to underscore the themes of isolation and uncertainty that are pervasive in Rosencrantz and Guildenstern Are Dead.

The two leads, Parrell and Sheridan, give commendable performances, both impressively navigating the script’s dialogue-heavy nature with impressive stamina. Their chemistry and timing give vibrance to the rapid-fire exchanges and subtle humour and both actors hold the audience’s attention, despite the length of the first act. The Lead Player (Julia “Jules” Graham) also gives a strong performance, although an in-character land acknowledgment at the beginning of the play felt a little awkward and artificial. Hamlet (Archer Malloch) has very little stage time and is mostly used as comic relief, but the actor goes a good job with the material.

Despite the strength of the performances, the lighting is inconsistent, with occasional scenes marred by poorly timed cues that disrupt the mood. These technical issues detract from the overall experience and could have benefitted from more refinement.

The first act, while ambitious in its scope, feels overly long. Certain scenes, notably those involving the Players, could have been shortened significantly with little or no impact on the plot. Likewise, the Scooby-Doo style “chase” scene does not seem to add any value to the narrative, even though it is energetically staged,.

Sock ‘n’ Buskin’s Rosencrantz and Guildenstern Are Dead highlights the strong acting skills of its cast and demonstrates a thoughtful approach to minimalist design. The issues with lighting and pacing can be resolved with a little more attention to technical and directorial details. The production demonstrates talent, creativity, and, perhaps most of all, a solid grasp of Stoppard’s challenging material.

Rosencrantz and Guildenstern Are Dead was on stage at the Kailash Mital Theatre through January 25, 2026. Keep your eyes open for Sock ‘n’ Buskin’s upcoming presentation of the Louisa May Alcott classic, Little Women, on stage from March 19 to 22, 1026.  Click here for more information.