Review: Endgame (Ustinov Studio, Theatre Royal Bath)

Review by Seth Wilby

⭐️⭐️⭐️⭐️

The programme for this new production of Samuel Beckett’s Endgame, at Bath’s Ustinov Studio, contains an essay on the theatrical landscape in the 1950s, when the classic play was first staged in English after a battle against government censorship. Nearly 70 years on, times have, in some ways, changed, and the theatrical landscape has certainly evolved. That said, the ‘Theatre of the Absurd’ invented by Beckett and his European counterparts has not found a place in many new works, although the themes of loneliness, suffering and dependency shown in Endgame still feel relevant in this starry revival, directed by Lindsay Posner. However, could this staging manage to connect to today’s audiences, or would the outcome be a play as drab as its setting?

Described as a ‘macabre tragicomedy,’ Endgame is set in a fictional wasteland, where a blind man named Hamm, his servant Clov, and his dustbin-dwelling parents wait for an unexplored ‘end.’ Much of the play consists of seemingly futile dialogue and stage actions, yet, beneath the mundanity, it acts as a much wider discussion piece. In typical absurdist fashion, not much is ever fully explained, and this, paired with the contrast between the play’s minimalism and the character’s absurdities, makes for a fascinating watch that truly sticks in your head afterwards.

Lindsay Posner has done a magnificent job at directing this piece, crafting a production that feels perfectly suited to the intimate confines of the Ustinov Studio, and allows the intricacies of the performances to shine. Posner does great work in maintaining the audience’s engagement in what could have been an uninspiring production, all while sticking faithfully to Beckett’s original instructions (he famously once referred to a production which did not follow his stage directions as ‘a complete parody’). By contrasting this maintained bleakness with some extremely animated physical performances, Posner proves himself as a director who allows writing and performances to take centre stage, with a few uniquely special touches (including a shock-inducing reveal in the play’s early moments). What is particularly notable is that the production manages to stay vague enough that even the audience loses track of when the end is coming. Perhaps there could be some more weight given to the story told by Hamm, in order to allow for a greater emotional impact in the play’s final scenes, yet, overall, this is a strong and precise production with impeccable recognition for the writing, performances, and space.

Set and costume design are by Jon Bausor, who faultlessly brings this dreary future into fruition. From the moment the audience enters, there is a sense of disorientation created by the wonky stage floor and the skewed LED stage outline. For the duration of the play’s ninety minutes, the set works almost like an optical illusion, and it is truly terrific that Bausor has managed to instil a gloomy scene with such character. The costumes do similarly great work in depicting the decrepit premise, yet it is the makeup design which provides the strongest characterisation. Thanks to Bausor’s work, the play has no heavy lifting to do in order to establish the aging and desolate context.

My favourite part of the Ustinov Studio’s small scale is being able to see incredible performances in such close proximity, and Endgame proved why that is. After over a decade, Douglas Hodge makes a triumphant return to UK stages as Hamm in what may be one of the best performances I have seen in a play all year. Spending the whole play seated and wearing dark glasses due to the character’s blindness, the role of Hamm strips an actor of some of their greatest assets. Hodge, however, is effortlessly transfixing in this titan of a performance. His face has this contortionate ability to express emotions with both emphasis and subtlety and there is an unmatched level of nuance in every line delivery. Anger, despair and bitterness are so clearly conveyed as Hodge controls the audience with expertise, which means they can’t help but empathise with this selfish and domineering character. It is near impossible to take your eyes off of Hodge’s mesmerising characterisation, and experiencing this amongst a small audience felt like a true privilege.

Similarly, Matthew Horne is brilliantly cast as Hamm’s gurning, yearning servant, Clov, who adds the most comedy amongst this macabre topic. Most impressive is the physicality Horne brings to the role, fully embodying this characterisation with the way his Clov walks, holds himself, and behaves. There are several prolonged physical moments for Horne, mainly during scenes where Clov uses a step ladder, which go on for just long enough for the audience to laugh out of admiration for Horne’s commitment. Demonstrating pristine comic timing in the early scenes, Horne later manages to achieve a more layered and heartfelt portrayal of a man searching for something more than what he has become attached to. The contrast between the longing of Horne’s Clov and the acceptance of Hodge’s Hamm is what makes the play such a thought-provoking watch.

Completing the cast are Selina Cadell and Clive Francis as Hamm’s parents, who are confined to wheely bins and controlled by their son in this future. Although their roles are notably smaller, both still do strong work in establishing their character’s nature and providing both heart and humour. Anecdotes they share offer the play’s clearest portrayal of the situation they are stuck in as well as some insight into the play’s themes of parental relationships, which are seemingly turned on their head in this dynamic. All four performances are perfectly pitched in a production which allows them to be both exaggerated and intricate, with a never wavering intensity.

It was a genuine treat to be in the audience for Endgame, with very few productions managing such congruency in their vision. Posner’s focused direction, Bausor’s ingenious set, and Horne’s terrific physicality all contribute towards this revival’s success, yet it is Hodge who steals the show in a magnetic, passionate, and elaborate performance that I shall be thinking about for a very long time. 

Endgame plays at the Ustinov Studio at Theatre Royal Bath until October 4th

For tickets and information visit https://www.theatreroyal.org.uk/events/endgame/

Photos by Simon Annand