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“Words, words. They’re all we have to go on.” This may have been true for Rosencrantz and Guildenstern as they navigated their role in Shakespeare’s “Hamlet”; however, the Huntington Theatre Company’s production of “Rosencrantz and Guildenstern are Dead” goes far beyond the words of Tom Stoppard’s classic play. Stoppard’s play is known for its fast-paced absurdist monologues, using syllogisms and rapid-fire interrogation to explore questions about the trustworthiness of reality or morality of murder. As he interprets the role of the play’s titular Guildenstern, actor Jeremy Webb’s monologues are marked with sarcastic eyebrow raises and comedic gestures, giving these high-minded philosophical discussions hints of familiarity. Contrasts, like between the simplicity of Guildenstern’s declaration and complexity of actor Jeremy Webb’s performance, make Stoppard’s philosophical rants more accessible.

Peter DuBois’ production of “Rosencrantz and Guildenstern are Dead” brings the Tony-Award winning tragicomedy to the Huntington Avenue Theatre’s stage from Sep. 20 to Oct. 20. The nearly three-hour play focuses on Rosencrantz and Guildenstern, who are called by Hamlet’s uncle, King Claudius (Ed Hoopman), and his mother, Queen Gertrude (Melinda Lopez), to “glean what afflicts” Hamlet after the murder of his father. As Shakespeare’s play “Hamlet” unfolds elsewhere, Rosencrantz and Guildenstern are left in confusion to explore the questions of reality, death, and morality. Throughout their journey, the pair interact with the Player (Will LeBow) and his band of Tragedians (Laura Latreille, Zaven Ovian, Marc Pierre, Dale Place, Omar Robinson, Michael Underhill), and slip in and out of scenes from the original play. By the end, all of Rosencrantz and Guildenstern’s comedic musings culminate in their struggle to explain their tragic fate.

DuBois’ staging defines this production. At every turn, characters are put distinctly adjacent to each other through positioning or movement. As Shakespeare’s royal characters emerge in Act I, they move in a staged, exaggerated manner, weaving between walls behind Rosencrantz and Guildenstern, who awkwardly adopt modern mannerisms, from chest-bumps to headlocks, at the edge of the stage. Everyone, from the rambunctious Tragedians to the ridiculously dramatic Ophelia (Meghan Leathers) seem to move quickly and fluidly around stumbling Rosencrantz and Guildenstern, highlighting their confusion and emphasizing the distinction between their verbal tennis and the lofty Shakespearean language of others. The playful, sarcastic tone Webb adopts softens the density of his rants, and creates a platform for questions of purpose, identity and reality to interlace with trivial, casual conversation.

The absurdist nature of the play leaves the relationship between Rosencrantz and Guildenstern up to interpretation. Alex Hurt and Webb approach the two characters like goofy brothers, playing off each other’s comedic personalities. Hurt’s childlike Rosencrantz can come off like a doofus, but this portrayal makes his existential breakdowns even more haunting. The real standout performance is Webb, whose confidence and energy demand attention to every bit of Guildenstern’s words and movement. Both Hurt and Webb act with casual, modern mannerisms, but all other characters are stiff and staged, giving the spotlight to Stoppard’s commentary rather than Shakespeare’s play. While the overacting and staging of characters like Gertrude and Hamlet (Brian Lee Huynh) at times detract from the nuances of their stories, this contrast makes Rosencrantz and Guildenstern’s ramblings more modern and approachable.

The production’s lighting design (David Lander) and sound design (Obadiah Eaves) enhance both its acting and visual elements. With a simple set of wooden flats and rigging, Lander’s work skillfully transitions between moods and settings. Royal characters, for example, are bathed in golden light, emphasizing their artifice and contrast from Rosencrantz and Guildenstern, whose exchanges are often under flat wash neutral or blue light. By the height of Act III, much of the set disappears. Rosencrantz and Guildenstern stand in front of darkness and haze, dramatically illuminated from offstage, and the theater is flooded with dramatic rushes of sound until their speeches finally cease and they disappear into a void of silence and complete blackout. The shift to reliance on sound and lighting design rather than scenic design for storytelling emphasizes the very questions about reality and sensory experience that plague Rosencrantz and Guildenstern.

Through the energetic, stylized acting and dramatic lighting and sound design, this performance makes the existential and philosophical mysteries of the play relevant and approachable. The show itself, enhanced by its acting and technical contrasts, poses intriguing classic philosophical questions in modern form.