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Have you ever paused to consider the physical and spiritual predilection towards the meaninglessness of life? No? Me neither… well, perhaps only after a few glasses of wine… Beckett’s Waiting for Godot is considered one of the greatest works of the twentieth century– a play that it has constantly questioned our existential futility and the need for connection in the face of it all.
The very humid Smock Alley is a perfect space for transforming Beckett’s Godot to the stage. On this particularly warm evening, the audience and actors alike all suffer the same fate of a hot, humid theatre in late July. The fact that there is an interval is an assuring thought. Luckily, however, this production held the attention of the audience and suppressed any thoughts of sneaking out unnoticed for air.
Beckett was notably pedantic in his stage directions, which means that not many people can veer far from the original. Having seen Druid Theatre’s production in 2018, this was perhaps quite soon to revisit the same world of Beckett, especially considering the impressiveness of Garry Hynes’ Druid production. It’s also near impossible to not compare previous Godots with contemporary versions. However, …No Alternative… (in association with ETHOS)’s production brings a fresh perspective to Beckett’s words.
Director Patrick Sutton has infused a bubbling energy to the piece. The language ebbs and flows and at times feels almost trapped within a slapstick comedy routine. The repetitive and energetic movement of Estragon and Vladimir is augmented with quick-paced lines that overlap and sustain the entertainment of Beckett’s wordplay. The idiosyncratic features of Beckett’s repetition are used deftly and Estragon (played by Donal Courtney) brings an honest virtuosity to the role, whilst Vladimir (played by Charlie Hughes) is spectacular in his interpretation and ability to captivate the audience for every second. Both are exceptionally physical actors and move with a silent-movie style of movement, almost Looney Tunes mixed with a Chaplin-esque style in how they waddle across the barren stage. Gerard Byrne as Pozzo brings a unique perspective to the role: his brash sense of agitation is at times quite static in the pacing, yet it amicably shifts the power dynamics of the central roles. Rex Ryan as Lucky gives a hugely committed performance, his legs shake uncontrollably throughout (even when you stop looking) and his huge speech is delivered affably, if somewhat slower-paced than usual.
It is hard to approach a play such as Godot without an audience reaching into previous versions’ sentiments and highlights. Whilst not everyone will agree with the choices made, director Patrick Sutton has created a hugely entertaining and captivating production that exceeds on so many levels. Since Beckett first penned Waiting for Godot in 1948, academics and theatre-goers have distressed over the true purpose of its existential meaning and what the mysterious depictions stand for. When Beckett was asked to illuminate the true meaning he simply responded: “If I knew, I would have said so in the play.” Not exactly an enlightened response, but I suppose that’s the true beauty of Beckett, it doesn’t need to be revealed and resists all explicable explanation. Its meaning must be appreciated viscerally and this production does just that. Overall, it is a hugely entertaining production that captivates and enthralls at every stage. Go see it before it’s gone!
Waiting for Godot by Samuel Beckett, presented by …No Alternative… in association with ETHOS, runs at Smock Alley Theatre until August 10.
