Waiting for Godot is
arguably Samuel Beckett's most well known and best loved play. It is
set in an empty space with nothing but a solitary tree. Reading Rep's
production interprets this emptiness as a literal desert with sand on
the floor which the audience must crunch over to get to their seats
on either side of a promenade. The intimate nature of the space fits
perfectly with the style of the play which suggests that we are all
waiting for something and look merely for entertainment while we
wait.
However, we do not have
to wait long before Vladimir (Rick Romero) and Estragon (Kyle Fraser)
enter the stage. Cast as tramps which is a usual interpretation of
the pair, but not as old men, their soft Irish accents enhance
Beckett's lyrical dialogue. The tenderness in their relationship is
clear from the start with both actors playing the parts with
conviction and skill. Fraser's often childlike portrayal of Estragon
was especially compelling and balanced Romero's more serious
Vladimir. I really enjoyed the physicalisation of Vladimir with
slightly stooped shoulders and whole body tantrums.
The pair are
interrupted in their wait by Pozzo (Stephen Macaulay) and Lucky
(Brian Tynan). The physicalisation of these two was excellent and
they provided energy and humour. Once again the accents were very
fitting to Beckett's dialogue. Pozzo's African accent highlighted a
different lyricism than Estragon and Vladimir's and his hearty laugh
dispelled tension as easily as he could create it. When Lucky is
commanded to “think” he delivers his thoughts with a classical
elocution and a tremendous pace.
Having provided
Estragon and Vladimir with entertainment the master and his dog (as
Pozzo refers to Lucky) leave. As soon as they disappear a young boy
(Ashley Cousins), who is a messenger from Godot, appears to tell the
waiting pair that Godot will not come tonight but will surely come
tomorrow. His accent is also fitting with a hint of Victorian London
street urchin that emphasised his wide eyed innocence and ignorance.
The second half of the
play is a reprise of the first with entrances and exits in the same
order but each character except Vladimir having forgotten what
transpired the previous day. There is still a great deal of humour in
the second act, including some well done but not overly played nods
to Laurel and Hardy but it is more poignant and hopeless. Perhaps
some of the physical set pieces such as the scene with all four men
collapsed on the floor could have been slicker. However, the struggle
of those moments was fitting for this production which did not try to
be a lesson in absurdist theatre but
balanced the absurdity of the situation and the fully realised
characters which found themselves in it.
Waiting for Godot is a
very difficult play to get right given that it is a play in which
nothing happens and so much depends on the portrayal of the
characters of which nothing is known except the words they say. In my
opinion Reading Rep's production definitely gets it right and I would
happily watch this show again, seated on the other side of the
promenade to experience a new perspective.
No comments:
Post a Comment