With William Shakespeare's play Hamlet as the backdrop, Rosencrantz and Guildenstern Are Dead concerns the musings and mishaps of the titular characters. The play is structured as the inverse of Hamlet, in which Rosencrantz and Guildenstern are two minor characters who were childhood friends of the Prince; instead, the duo remains the focus and Hamlet himself is a minor role whose actions occur largely offstage, with the exception of a few short scenes in which the dramatic plays converge.

In Hamlet, Rosencrantz and Guildenstern operate under the King's command in an attempt to discover Hamlet's motives and plot against him. Hamlet, however, derisively mocks and outwits them, so that they, rather than he, are sentenced to death in the end. Rosencrantz and Guildenstern Are Dead explores these events from the perspective of the duo; their actions seem largely nonsensical because they are superseded and, therefore, determined by Hamlet's plot.

In the absence of a compelling mission the two characters find themselves undertaking philosophical musing, playing word games and generally, trying to make sense of their place in this world.

Production Team
Director: Tony Petani
Assistant Director: Emily Keys
Stage Manager: Jason Blaine
Lighting: Fiona Reid
Costume: Merri Ford

Production Information:

Production dates: 8-11 October, 15-18 October 2025. 7.30 pm shows
Performance location: The New Fortune Theatre
Rehearsals commence: 5 August
Rehearsals: 10 am – 4 pm on Saturdays and 7pm – 10 pm on Tuesdays and Thursdays.

Auditions:

Auditions will be on the 24th of July from 6pm and the 26th of July from 10am - 2pm at the Bradley Studio at UWA. It will consist of a 15 minute audition window where you will present a warm reading from the selection in this pack. If the character you wish to audition for does not have an extract, please choose another. Lines do not need to be memorised, but a familiarity with the wording is expected. There will be printed copies of the extracts at the auditions, however feel free to bring your own if you wish. There is no requirement to perform a prepared monologue. There is the potential to get you to read a different extract on the day.

Roles & Requirements:

All ages specified are playing ages. Some roles have the gender presentation of the character specified, where it is not listed, it is open for all interpretations. GRADS has been given permission to cast the characters Rosencrantz, Guildenstern and/or the Player with actors other than men, however, the characters must remain the gender presentation in the script.

Some of the players may be doubled with the Royal court, but we would ideally have as large a cast of these extra-numeri cast as possible. If you know someone who is interest in getting a simple start in theatre, or just loves the fun of theatre, then please invite them along to take part.

CHARACTERS:

ROSENCRANTZ (Male 20s-30s) – a childhood friend of Hamlet. Has an innocent and optimistic outlook on life. Occasionally gormless and slow to pick up on things.
GUILDENSTERN (Male 20s-30s) – a childhood friend of Hamlet. Has a pessimistic view of the world but is very attuned to, and perturbed by the situation he finds himself in.
THE PLAYER (Male 40s plus) – a travelling player. Incredibly theatrical and over the top. Understands the world that R & G find themselves in, or at least, credibly portrays that he does.
HAMLET (Male 20s-30s) – Hamlet
ALFRED (Male Teenage) – A travelling player. Like the other tragedians he has fallen (or mor accurately, been pushed) into prostitution.
CLAUDIUS (Male 50s plus) – King of Denmark. Hamlet’s murderous uncle and usurper to the Danish throne. Regal and formal.
GERTRUDE (Female 50s plus) – Queen of Denmark. Hamlet’s Mum. More welcoming and approachable than Claudius.
POLONIUS (Male 60s plus) – An adviser of the Court of Denmark. Prone to verbosity and gossiping.
OPHELIA (Female 20s) – A lady of the Court of Denmark. Hamlet’s sometimes lover, Polonius’s daughter. Meets an untimely death.
HORATIO (Male 30s/40s/50s) – A courtier.
TRAGEDIANS/ENSEMBLE

EURYDICE is an imaginative retelling of the Greek myth of Orpheus. “Orpheus was a great musician, Eurydice was his wife, she died.” The tale usually follows the adventure of Orpheus, the tragedy and hubris of his love – but very rarely is Eurydice much more than the treasure at the end of the journey. In this play, Eurydice takes the forefront – we see her developed as an intelligent and curious young woman, we watch her death and follow her to the Underworld, see her reconnect with her dead father and follow Eurydice and her father as they reclaim their memories from the River Styx. The Underworld is a wonderland of stone creatures and a devilish king with rules that only make sense “because”.

The play explores the themes of love and loss and the favourite themes of both playwright Sarah Ruhl and director Abbey McCaughan, yearning and nostalgia. Memory plays a key role in the narrative, as the characters lose their memory in death but regain them as reconnect to the love they had in life. The play works in the realm of surrealism and blends in elements of contemporary dance with at times absurd dialogue. Sarah Ruhl’s masterful text is an elegant exploration of what it means to love and the choices we make when we give ourselves to another person.

This production is packed to the brim with incredible emerging talent, featuring Josie Walsh as Eurydice and Tom Tasovac as Orpheus. They are accompanied by the incomparable Grant Malcolm as Father, who brings a wealth of experience in both life and theatre delicately to the role. The antagonist Hades is played expertly by WAAPA student Becca Attwood. The key players are surrounded by a diverse and spectacular ensemble of Stones (Abby Kotara, Declan Morton, Lukas Perez, Jade Elliott, Matilda Reid and Mary Carter) who create the unsettling atmosphere of the Underworld through contemporary movement and chorus speech reminiscent of the story’s roots in Greek theatre.

Caryl Churchill’s classic play directed by award winning director Virginia Moore-Price.

Set against the socio-political landscape of Thatcher's Britain, Top Girls delves into the complexities of a woman's journey to success. It raises poignant questions about whether an unwavering pursuit of personal achievement should take precedence over a more collective, socialist form of feminism. The play prompts reflection on whether celebrating women's inherent nurturing instincts and their desire for the well-being of those around them should be valued alongside individual accomplishments.

 GRADS is proud to present Top Girls at Stirling Theatre, Innaloo and thanks Stirling Players for hosting us!

Written by Larry Kramer

Directed by Barry Park

The Normal Heart, by Larry Kramer, is a searing drama about public and private indifference to the AIDS plague and one man's lonely fight to awaken the world to the crisis. Produced to acclaim in New York, London and Los Angeles, The Normal Heart follows Ned Weeks, a gay activist enraged at the indifference of public officials and the gay community. While trying to save the world from itself, he confronts the personal toll of AIDS.

Written by WIlliam Shakespeare

Directed by Melissa Merchant

Alex Comstock Richard III, Duke of Gloucester
Grace Edwards Queen Elizabeth
Patrick Downes Buckingham (Ghost)
Ellis Kinnear King Edward IV/Richmond
Madelaine Page York (Ghost)/Catesby
Tony Petani Clarence (Ghost)/Lord Mayor
Kate Elder Duchess of York/First Murderer
Anka Cikic Lady Anne
Katherine De Vere Queen Margaret
Sarah Thillagaratnam Bishop of Ely/Archbishop of York/Tyrell
Lara Vocisano Rivers (Ghost)/Second Murderer
Grant Malcolm Derby
Anna Head Ratcliffe
Kaitlyn Barry Vaughan, Brackenbury, Prince Edward (Ghost)
Lucy Silva Lady Elizabeth

Directed by Stephen Lee

Written by Tennessee Williams
Directed by Jane Hille

Written by Arthur Miller

Directed by Barry Park

Written by WIlliam Shakespeare

Directed by Grant Malcolm

Reviewed by Alicia Smith, Australian Theatre and Live Performance Reviews

Opening on a midweek night where the weather decided to emulate that of Scotland you’d expect that there wouldn’t be much of an audience but the Dolphin was at about half capacity, and they were lucky because this was a great show.

This is a production in which GRADS is once more looking more slick and in the groove than some professional troupes I’ve seen. With a huge cast – 26! spangled with experienced performers like Stephen Lee and Jenny Howard, directed with Grant Malcolm’s the sure touch it’s a substantial offering. Even on the first night there’s an enormous frisson between the actors, quite sizzling at times! 

But there’s too many to mention, even though I want to because even the smallest roles – a child stacking blocks - Isaac McCann’s humour and pathos, – a servant – Neve Havercroft’s studied expression  - Tim Prosser’s doctor’s concerns both for his patient, and tellingly, more for himself all played with clarity, passion and dedication. Jeff Watkin’s ability to  bring forth real tears in the throes of Macduff’s grief is very moving. There’s a driving force to this production and it seems at times to be wringing the very best out of the actors. 

For purists complaining that they’ve made Duncan a Queen, not a King, pah – Sue Lynch has proved that she’s a fine Duncan and clearly has earned respect and loyalty. She’s just not going to get it from Macbeth, who, like the audience, is clearly captivated by the amazing Weird Sisters.

Grace Edwards, Sylvia Cornes and Anka Cikic were very clearly of the Other, frightening and manipulative, compelling with their cult-choreography and obscure warnings. 

Stephen Lee as Macbeth and Jenny Howard as his ambitious wife were an amazing pair, and the way the dynamic see-sawed between them as one of them would be set by uncertainty or the odd vision of a bleeding ghost at the banquet, and be shored up by the other. 

Kristine Lockwood’s Porter was a welcome and hilarious relief from the brooding atmosphere and some great physical comedy. 

Shivas Lindsay’s Angus got the first laugh of the play when his genuine Scottish accent (amid so many acted in this play that I can be no judge of) announced that “We are sent To give thee from our royal mistress thanks; Only to herald thee into her sight, Not pay thee.” 

Eddie Stowers and Davis McCann you wouldn’t want to meet, well, anywhere, in their roles as Murderers. 

I’ve seen Banquos in the past that have been real walking bloodbaths, almost slaughterhouse visions, where it’s so over the top that the effect is over, heh, saturated, if you’ll pardon the expression. But when Banquo’s ghost comes on, it looks like he’s been murdered professionally, with no mucking about, a straightforward job, which is all the more chilling. Very realistic moulage.

Quite in keeping with the play, this is not a tame production – there is real fire and smoke, there are metal weapons and there’s stage fighting. And witches. The well tempered sound effects gather us into the play, and the music – original score by Myles Wright was very evocative. The actors are playing passionate roles of madness, violence, murderous death and anger and other overwhelming emotional conflicts. 

If they had trigger warnings in Elizabethan times the ones for this one would be plastered all over the door. There’s one thing I’ve never seen done before in a stage play to quite that extent. (You’ll know it when you see it.)  It’s really quite exciting. 

Beautiful props – the Weird Sisters’ enormous Cauldron had a presence all of its own, and it was wise to let it have the stage to itself for a while, to allow us time to adjust to it. This must have taken a while to construct and it looks like antique cast iron.  The thrones are beautiful pieces of work, I just hope that Banquo’s ghost didn’t bleed too much on them. 

If you want to introduce someone to Shakespeare this production would be the one I’d pick – clarity, vision, terrible passion, fine acting, stage fighting, witches, great lighting and sound and stage. If you want to see some blood and thunder Shakespeare this is it too.

9/10 Indomitable and finding the Royal Shakespeare Company and Bell Shakespeare are juggling fire and duelling soliloquies at your local community theatre on the Sid and Nancy Scale.

Alicia Smith

Australian Theatre and Live Performance Reviews

Written by David Henry Hwang

Directed by Barry Park

Directed by Barry Park

Louis Nowra’s Cosi
a delicious tale of love, madness and opera.

THE CAST

LEWIS Seton Pollock

NICK Glen Hunting

LUCY Sarah McKellar

ROY Nicolas Kadmos

JUSTIN John Deasy

DOUG Scott Sheridan

HENRY Peter Nettleton

CHERRY Bethwyn Legg

RUTH Diane Fischer

JULIE Sonia Marcon

ZAC Eliot McCann

THE CREW

Director Grant Malcolm

Stage Manager Josh Brant

Production Manager Pat Stroud

Lighting Design Fiona Reid

Costume Design Merri Ford

Sound Design Mark Tearle

Set design Grant Malcolm, Jonathan Beckett

Properties Susie Hellings

Costumes Diane Savina, Beth Legg

Sound Operator Michael Dunbar

Lighting Operators Shamini Joseph, Jack Hou

Assistant Stage Manager Chad Neylon

Set Construction Kevin Hook, Jonathan Beckett, Michael Dunbar, Josh Brant, Dan Petty, Chad Neylon

Publicity Pat Stroud

Poster Grant Malcolm

Programme Sharon Malcolm

Production photos Michael Dunbar

Front of House Coordinator Glenn Bell

GRADS bookings Fiona Reid, Glenn Bell

Download the Cosi program