Pleasing Performances, Puzzling Play
By Lauren Yarger
Sharp performances from all four actors make Roundabout Theatre Company’s Broadway revival of Samuel Beckett’s Waiting for Godot a pleasing theatrical experience even though the play itself is still as puzzling as ever.
The performances come from Nathan Lane (Estragon) and Bill Irwin (Vladimir), who play off each other so well that they bring to mind great partners of comedic timing like Abbot and Costello. Also terrific are John Goodman (Pozzo) and his slave John Glover (Lucky). What exactly they’re so good in, however, is puzzling. If you think I’m just not theater savvy enough to figure it out, a post-show discussion followed the play, featuring Annette Saddick, associate professor of 20th-century drama and performance at New York City College of Technology, who spoke on “making meaning out of Godot.” People even are puzzled about how to pronounce Godot (is it God-oh or gud- oh? In this play, it’s the former).
Godot is the mysterious person for whom Estragon and Vladimir wait. Why, we’re not sure. While they pass the time, one day seems just like the next. Estragon looks at his boot a lot while Vladimir peers into his hat a lot and they agree there’s “nothing to be done” in their purgatory-like existence where they ponder bigger questions about God and repentance from time to time.
Their friendship and dependence on each other deepens and they fluctuate between outrage and intrigue at Pozzo’s subhuman treatment of Lucky which provides a diversion while they wait. Directed by Anthony Page, Glover is excellent as the wheezing, slobbering “beast of burden.”
A young boy (a role shared by Cameron Clifford and Matthew Schechter) comes to announce that Godot won’t be there until tomorrow and a sun sets on Santo Loquasto’s impressively stark rock scape. The only thing different the next day is the appearance of some leaves on a stark, grey tree as they begin waiting for Godot again.
The philosophical nature of the play (especially since there aren't any real answers) might not be for everyone, but the performances shouldn’t be missed.
Waiting for Godot plays through July 12 at Studio 54, 254 West 54th Street, NYC. For tickets, call 212) 719-1300 or visit. http://www.roundabouttheatre.org/. For discounts on group tickets, click here.
By Lauren Yarger
Sharp performances from all four actors make Roundabout Theatre Company’s Broadway revival of Samuel Beckett’s Waiting for Godot a pleasing theatrical experience even though the play itself is still as puzzling as ever.
The performances come from Nathan Lane (Estragon) and Bill Irwin (Vladimir), who play off each other so well that they bring to mind great partners of comedic timing like Abbot and Costello. Also terrific are John Goodman (Pozzo) and his slave John Glover (Lucky). What exactly they’re so good in, however, is puzzling. If you think I’m just not theater savvy enough to figure it out, a post-show discussion followed the play, featuring Annette Saddick, associate professor of 20th-century drama and performance at New York City College of Technology, who spoke on “making meaning out of Godot.” People even are puzzled about how to pronounce Godot (is it God-oh or gud- oh? In this play, it’s the former).
Godot is the mysterious person for whom Estragon and Vladimir wait. Why, we’re not sure. While they pass the time, one day seems just like the next. Estragon looks at his boot a lot while Vladimir peers into his hat a lot and they agree there’s “nothing to be done” in their purgatory-like existence where they ponder bigger questions about God and repentance from time to time.
Their friendship and dependence on each other deepens and they fluctuate between outrage and intrigue at Pozzo’s subhuman treatment of Lucky which provides a diversion while they wait. Directed by Anthony Page, Glover is excellent as the wheezing, slobbering “beast of burden.”
A young boy (a role shared by Cameron Clifford and Matthew Schechter) comes to announce that Godot won’t be there until tomorrow and a sun sets on Santo Loquasto’s impressively stark rock scape. The only thing different the next day is the appearance of some leaves on a stark, grey tree as they begin waiting for Godot again.
The philosophical nature of the play (especially since there aren't any real answers) might not be for everyone, but the performances shouldn’t be missed.
Waiting for Godot plays through July 12 at Studio 54, 254 West 54th Street, NYC. For tickets, call 212) 719-1300 or visit. http://www.roundabouttheatre.org/. For discounts on group tickets, click here.
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