Voted one of the most influential texts of the 20th century, Waiting for Godot asks for the human condition to slow down and appreciate what is – the show’s leads Estragon and Vladimir symbols of what it is to not be shrouded by materialistic things and just ‘be’. Waiting for Godot a tragicomedy concerned more so with the weight of the words spoken and the bleakness of ego and expectations. Taking residence currently at Theatre Royal Haymarket, James Macdonald’s rendition draws on the dreariness of waiting.
As Estragon (Lucian Msamati) and Vladimir (Ben Whishaw) wait for the eponymous Godot, the notion of waiting taking prominence – the impatience, confusion, boredom, frustration, questioning of reality itself stages the cast go through and that can be felt. Waiting for Godot is of a time, written post WWII, located in a barren landscape with the exception of a tree that Godot claims to meet the duo at. Like men at war there’s a stillness, a waiting for the unknown that Macdonald is able to connect us to well – Jonathan Slinger’s Pozzo eccentric, Tom Eden’s Lucky compliant but deceptively omnipresent perhaps embodiments of ego. Has that particular interaction between these two and Estragon and Vladimir really taken place or not? The play constantly has you asking questions which is what you want of a surrealist work.
Rae Smith’s grey toned, crater-like barren landscape connecting us back to a detritus filled post war world, but also to the present. Macdonald keeping the play at a constant, with comical aspects within it no doubt – Estragon and Vladimir clown-like figures, but with the show’s continuous bleak tone meaning the pace can often feel monotonous but purposely.
A subtle yet existential piece of theatre that leaves you drawing your own conclusions and focusing on just ‘being’.
Review written by Lucy Basaba.
Waiting for Godot is currently showing until Saturday 14th December 2024 at the Theatre Royal Haymarket. To find out more about the production, visit here…
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