“Rosencrantz and Guildenstern Are Dead” by Tom Stoppard has been described as a mash-up of “Hamlet” and “Waiting for Godot.” This brilliant and often hilarious play reimagines the story of two minor characters from Shakespeare’s “Hamlet,” placing them center stage in a world of existential uncertainty. We are seeking a diverse cast of talented actors to bring this masterful piece to life.

Audition Details

Date: June 24 (and possibly June 25)

Time: 6:00 PM

Location: PCA Studio Theater Multi-Purpose Room

Preparation: Audition scenes can be downloaded below.

If auditioning for roles other than Rosencrantz or Guildenstern, actors can present a prepared Shakespeare monologue.

Sides for cold reading will also be available at the audition.

Familiarity with the play is recommended. Familiarity with “Hamlet” a definite plus. (Extra credit for familiarity with “Waiting for Godot.”)

Additional Information

Director: Bill Krauss

Rehearsals: Begin July 8

Performance Dates: August 22-25, August 29-September 1

Please read:  R&G audition info.

Directors Style

  1. Collaborative: “All of us are smarter than one of us” (But I’m the referee.)
  2. Actor-centered: While all aspects of a production (e.g., sets, lighting, music, etc.) are important, the actors bring the story to life. If your first thought when you walk out of a play is “The costumes were wonderful” and not “That moved me and made me think,” something is amiss.
  3. Faithful to the text: Authors choose their words carefully, so you’d better have a pretty good reason if you want to change them. (In simpler terms: no paraphrasing.)

Character descriptions

(Gender-specific only as noted.)


 A close friend of Guildenstern, Rosencrantz is often more easygoing and less philosophical. Has a somewhat naive and oblivious nature but balances Guildenstern’s seriousness with light-heartedness. Often seen as the more optimistic and simplistic of the duo.


The more intellectual and contemplative half of the pair, Guildenstern is more concerned with existential questions. Often serious, introspective, and more aware of their peculiar situation than Rosencrantz.

The Player

The leader of a traveling acting troupe, the Player is charismatic, enigmatic, and somewhat cynical. He has a commanding presence and often provides insight into the nature of performance and reality. A master manipulator and showman.


Members of the Player’s acting troupe, the Tragedians perform various roles within their plays. They are versatile, energetic, and can switch between comedic and tragic scenes effortlessly.

Gender note: In Elizabethan drama, all roles were played by men. This production will ignore that, except for the role of Alfred, a male actor who specializes in female roles.


The Prince of Denmark, Hamlet is brooding, intense, and driven by a desire for revenge. He often appears preoccupied with his own thoughts and the unfolding drama of his story.

   Gender: Male


A noblewoman of Denmark and Hamlet’s love interest, Ophelia is gentle, innocent, and ultimately driven to madness by the tragic events around her.

   Gender: Female


The King of Denmark, Hamlet’s uncle, and the antagonist of Hamlet’s story. Claudius is shrewd, manipulative, and power-hungry, but maintains a facade of regal dignity.

   Gender: Male


The Queen of Denmark and Hamlet’s mother. Gertrude is dignified, caring, and torn between her son and her new husband, Claudius.

   Gender: Female


The Lord Chamberlain of Claudius’s court, Polonius is verbose, meddling, and often seen as a comical figure. Parent of Laertes and Ophelia.


Hamlet’s loyal friend, Horatio is rational, dependable, and a steady presence amidst the chaos of the court.

Court Attendants/Soldiers

 Various minor roles that populate the court of Denmark, including courtiers, soldiers, and messengers.

Audition Files To Download: auditionfiles and this file:  Polonius, Claudius, Hamlet – pp. 29-30

Audition Form