Acclaimed as a post-modern dramatic masterpiece, “Rosencrantz and Guildenstern Are Dead” is the fabulously inventive tale of Hamlet as told from the worm’s-eye view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play.

Hamlet, Shakespeare’s own greatest existential anti-hero, reunites with his university “friends” Rosencrantz and Guildenstern, who have been called to the royal court to spy on Hamlet by the evil new King Claudius. As told by 1960s English playwright Tom Stoppard, “existential dread,” as we have come to know it, travels to compellingly comedic, absurdist and antic heights, says the show’s director, Dennis McLernon.

While they wait to get their orders from the King, and meet up with Hamlet, Rosencrantz and Guildenstern struggle with the reasons for their visit by taking on the greatest metaphysical mysteries: the meanings of life, death, fate, purpose, identity, art and loyalty, grasping at philosophical straws while awaiting the slightest hint of a direction, reason or cue to take their next steps forward. The witty, fast-tempo play is filled with high energy, old vaudeville pacing, comedy and verbal dexterity.

“All in all, it’s a wild and crazy ride that Rosencrantz and Guildenstern take us on, as we journey with them experiencing rag-tag traveling actors, murderous plotters at court, philosophizing strangers on the road, ships at sea and even a crazy band of renegade pirates,” said McLernon, head of performance and professor of theater at UAB.