Here theatre itself became a brilliantly sustainable metaphor for life; the problems of identity, and ambiguity, uncertainity and death. Tom stoppard’s play itself derives from a most original inspiration: a feeling of compassion for those two characters in Shakespeare’s tradegy, Rosencrantz and Guildenstern and who knows which is which, friends of Hamlet’s youth who are made pawns in the game of royal intrigue and consigned to their deaths. The characters of the play are made to understand the concerns very well and speak with all the lucidity that a Stoppard’s double entendre requires.