Tom Stoppard has said of Rosencrantz and Guildenstern Are Dead that “the play works because no one is telling the audience precisely what to make of it.” This tale of two hapless minor characters from Hamlet, repeatedly overborne by the action of Shakespeare’s play itself, has been variously described as absurdist, existential, and a commentary on the human condition. Stoppard resists all interpretations. His favorite appraisal, as quoted in Hermione Lee’s magisterial biography, Tom Stoppard: A Life (2020), is from a journalist: “Oh, I get it, it’s two reporters on a story that doesn’t stand up.” Stoppard himself sometimes refers to it as “Hamlet as viewed by ‘two people driving past Elsinore.’ ” Olivia Cholewczynski as Guildenstern (left) and Rachel Dixon as Rosencrantz (right) in Nu Sass Productions’ ‘Rosencrantz and Guildenstern Are Dead.’ Photo by William T. Gallagher Production. For its 15th anniversary, NuSass Productions is reviving this, their very first production, initially presented as part of the 2009 Capital Fringe Festival. Their all-female Rosencrantz is a celebratory occasion for all concerned. Stoppard’s Tony-winning play has been seen all over the world since its original production in 1966 at the Edinburgh Fringe Festival. It was famously revived at the National Theatre in 1967, and again with Daniel Radcliffe in 2017. There was a successful production here at the Folger Theatre in 2015, directed by Aaron Posner. At the outset, on a simple but elegant stage, we see Rosencrantz (Rachel Dixon) and Guildenstern (Olivia Cholewczynski) flipping coins. When Rosencrantz, defying the laws of probability, wins 92 flips in a row, Guildenstern suspects “-un, -sub, or supernatural forces.” Both are Hamlet’s childhood friends, but they will be asked to betray him. They are unsure of their roles, aware that they are considered insignificant, and anxious about their fate. They are continually trying to outdo Hamlet. Hamlet always wins. Dixon seems more emotional, Cholewczynski more rational, but they are also, like Vladimir and Estragon in Beckett’s Waiting for Godot, in a kind of temporal and spatial limbo. As in Pirandello’s Six Characters in Search of an Author, they are characters in their own singular reality. They have been summoned to Elsinore. On the way, they meet a group of traveling Tragedians (Cate Ginsberg, Katherine Leiden, Helen Cheng Mao, and Annette Mooney), led by the Player (Anna Gencarelli). They lose a bet with Guildenstern, who demands a play: PLAYER: Plays? GUILDENSTERN: I thought you were actors. PLAYER: (dawning) Oh, well, we are. We are. But there hasn’t been much call— GUILDENSTERN: You lost. Well, then — one of the Greeks perhaps? You’re familiar with the tragedies of antiquity, aren’t you? The great homicidal classics? Matri, patri, fratri, sorori, and it goes without saying— ROSENCRANTZ: —Saucy— GUILDENSTERN: —Suicidal—hmm? Maidens aspiring to godheads— ROSENCRANTZ: And vice vers— GUILDENSTERN: Your kind of thing, is it? PLAYER: Well, I can’t say it is, really. We’re really more of the blood, love and rhetoric school. All the Tragedians play multiple roles. Gencarelli, as the Player, is especially winning, with each turn of events giving her another opportunity to display her talent, comedic timing, and versatility. Scenes from Nu Sass Productions’ ‘Rosencrantz and Guildenstern Are Dead.’ Photos by William T. Gallagher Production. The Murder of Gonzago from Hamlet, one of the many plays within plays, features Katherine Leiden as a sensual and determined Gertrude, and Helen Cheng Mao as a surprisingly sprightly Claudius. Annette Mooney as Polonius, Cate Ginsberg as Hamlet, Olivia Luzquinos as Alfred, and Jacqueline Youm as Ophelia gave equally fine performances as part of the ensemble. Director Ashley Mapley-Brittle has a whimsical touch and is well served by her cast. The production team’s work is exceptional. Costumes by Elizabeth Morton and props and images by Aubri O’Connor are clever and imaginative. The lighting designer is Chris Muska; the music director is Anna Gencarelli, and the sound design is by Youri Kim. The minimal set by Simone Schneeberg is attractive and true to the playwright’s intention. NuSass encourages marginalized genders, and the all-female-identifying casting is adroit and refreshing. This Rosencrantz reminds us that Stoppard’s writing encompasses multiple interpretations — and is always alive with his incomparable wit. Running Time: 120 minutes, with one 10-minute intermission. Rosencrantz and Guildenstern Are Dead plays through October 5, 2024, presented by Nu Sass Productions in association with Theatre Prometheus and Pinky Swear Productions performing at the DC Arts Center, 2438 18th St NW, Washington, DC. Tickets, which may be purchased online, are $30, general admission; $60, Date Night (2 tickets + 2 drinks + 2 snacks); $10, industry; and Pay What You Will, all performances, anyone. The run is sold out but waiting lists are available. Additional tickets for sold-out performances may be available at TodayTix.com as part of Theatre Week. COVID Safety: Masks are encouraged but not required. Select mask-required performances will be scheduled. Rosencrantz and Guildenstern Are Dead Written by Tom Stoppard Directed by Ashley Mapley-Brittle CAST Guildenstern: Olivia Cholewczynski Rosencrantz: Rachel Dixon The Player: Anna Gencarelli Hamlet/Tragedian: Cate Ginsberg Gertrude/Tragedian: Katherine Leiden Alfred (U/S Guil): Olivia Luzquinos Claudius/Tragedian: Helen Cheng Mao Polonius/Tragedian: Annette Mooney Ophelia/Tragedian (U/S Ros): Danielle Phan U/S Hamlet, Claudius, Polonius, and Alfred: Em German U/S The Player, Gertrude, and Ophelia: Jacqueline Youm PRODUCTION Stage Manager: Sam Rollin Producers: Youri Kim, Aubri O’Connor Production Manager: Ileana Blustein CREW Music Director: Anna Gencarelli Sound Designer: Youri Kim Dramaturgy: Annette Mooney & Katherine Leiden Costume Designer: Elizabeth Morton Lighting Designer: Chris Muska Props & Images Designer: Aubri O’Connor House Manager: Emmerline Porter Set Designer: Simone Schneeberg Fight Director: Kara Turner Marcomm Manager: Hannah Wing-Bonica