Review by Daz Gale
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In a year with some particularly exciting West End arrivals, there's one play many have been waiting for more than most and that is the revival of Samuel Beckett’s seminal classic Waiting For Godot. With a longer wait than most, it almost felt as if it would never arrive but finally it has opened at Theatre Royal Haymarket. But the questions to ask are was it worth the wait, and how many more times can I reference the word wait in this review?
Premiering in 1953, the English language version of Waiting For Godot debuted in 1955 and has stood the test of time in the decades since, being voted as the most significant English-language play of the 20th Century and known as the play that changed the rules. The play focuses on Didi (Vladimir) and Gogo (Estragon) waiting by a tree for a man named Godot, and that’s essentially it. They don’t know why they are waiting for him, when he will arrive or what will happen when (if) he ever gets there as the very concept of time seems to pass into insignificance. If that doesn’t sound like the most riveting of watches, you would be very surprised at just how quickly the time passes by.
It feels like stating the obvious to talk about how exceptional Samuel Beckett’s writing is. Many have spoken about the genius of his writing in the 70 years this play has been enjoyed by audiences so there is nothing I can say that hasn’t been said before. As somebody who had inexplicably never seen any production of Waiting For Godot before, I viewed this through fresh eyes, finding the writing every bit as captivating as countless others have before me.
While it is claimed to be a play about nothing, the themes that become apparent throughout are open to interpretation with some subtle and some more obvious comparisons to be made. It is this richness of a story so seemingly inconsequential that makes Waiting For Godot such a special watch. Immediately accessible through a deceptively simplistic story, the fact almost nothing happens is irrelevant to the journey itself and the way this play makes your subconscious work away without you even realising to draw conclusions as to what might be happening and fill in the gaps from the story. Whether there is a deeper meaning to it all or it is just to be taken on face value as Beckett claimed, it couldn’t matter less as it is the journey to get there that matters and even though we may never actually get there, crucially it never becomes boring – for the audience at least. The two main characters in the play may disagree.
Beckett’s writing comes to life through inspired direction courtesy of James Macdonald. Filling in the blanks of the story, Macdonald takes the sparse nondescript wasteland of space that fills the Theatre Royal Haymarket stage (flawlessly designed by Rae Smith) and ensures it bursts with creativity. From the smaller gestures of Didi and Gogo to the various ways they pass the time, pacing around the stage and a fantastic tease of them staring directly into the audience, which threatens to break the fourth wall but never quite gets there. Billed as a tragicomedy, Macdonald’s direction focuses more on the comedic element of this, meaning the humour in the writing is fully realised, entertaining at every opportunity.
Exceptional writing and direction notwithstanding, what is crucial to the magnificent delivery of a play like Waiting For Godot is in the performances themselves. It’s not an exaggeration to say that in this play, we may be witnessing some of the greatest performances of the year. Lucian Msamati and Ben Whishaw lead the intimate cast with their double-act of Estragon and Vladimir. Polar opposites in certain respects of their personalities, they create an odd-couple approach that always intrigues as nuggets of their relationship and the length of time they have spent together are teased, but it is the clear love these two characters have for each other that underpins the more erratic behaviours seen throughout. Msamati and Whishaw have remarkable chemistry together, ensuring they are both incredible in their own performances and collectively.
As Estragon, Lucian Msamati plays the character with moments of anger and confusion in a very human portrayal. Msamati goes to great depths in his choices, showcasing his immeasurable skills as an actor, bringing the more comedic elements to the character, all the while creating a sense of intrigue as he keeps forgetting why they are there. “Ah, yes”. Ben Whishaw’s interpretation of Vladimir gives a more tender approach as he attempts to hold the reigns and remind his partner of the situation they find themselves in. A truly outstanding actor as has been attested with his many awards and nominations in the past. Seeing him on stage showcases his strengths and versatility in performances, and when the material and direction is as faultless as this, it gives him every chance to shine – an opportunity he takes at every single turn.
While Waiting For Godot is centred on its two main characters, it does feature a couple of sidekick for two extended appearances throughout. Jonathan Slinger is beautifully charismatic as Jonathan Slinger bringing an exaggerated character to the fold in the first act, and a very different appearance in the second act. Creating a lot more intrigue of the situation these characters find themselves in, Slinger relishes the opportunity to play the enigmatic character who some have thought may be the mysterious Godot himself. Tom Edden gives a masterclass performance in physicality as Lucky. Though he is a man of few words (for the most part, at least), he threatens to steal the scenes through the slightest of movements, with an exhaustingly overlong monologue one of the more memorable moments, exquisitely performed.
There are plays like Waiting For Godot that people talk about with such love, you worry you may not have the same response. Even though Samuel Beckett’s play is so well-regarded, the interpretation of the director and the performances itself could mean you are not quite getting an experience worthy of its previous iterations. That was not the case here – if Beckett’s writing is extraordinary in itself, so too is Macdonald’s direction and the performances from all four actors here. This was the rarest of shows for me in that I found myself enjoying it from the first moment, and then enjoyed it more with each passing minute. This meant that by the time the play roared to its thrilling (or anticlimactic, you decide) climax, I was as in love with this production as any other play I had seen this year. This is how you revive a classic and realise it to its full potential. It’s fair to say this production was more than worth the wait - God(ot) it's good!
Waiting For Godot plays at Theatre Royal Haymarket until 14th December.
Photos by Marc Brenner
There are plays like Waiting For Godot that people talk about with such love URL