Samuel Beckett’s Waiting for Godot is simultaneously a show about nothing and an existential tragicomedy about everything we instinctively know about the human condition. Considered by some to be the 20th century’s greatest play, it has, after 56 years of numerous stagings and revivals, landed most recently at Studio 54. This Roundabout Theater production tackles philosophical conundrums with humorous charm and decent emotional weight, but it still leaves much of the play feeling as undeniably dry as the barren landscape of its stage setting.
At the outset, we have two bums, Estragon and Vladimir, who are hanging by the side of a road in the middle of nowhere waiting for a mysterious being called Godot (pronounced GOD-oh here, apparently director Anthony Page’s attempt to make the theological metaphor even more obvious). Godot may or may not show up, and Estragon and Vladmir are stuck wondering what they should do to pass the time – a mildly annoying endeavor that becomes increasingly despairing as Godot fails to appear. They carry on nonsensical banter, meet an aristocratic passerby named Pozzo and his slave Lucky, and look for “something that gives us the impression we exist.” At the end of each day, though, all they have is each other.
It’s a stark, dreary premise, and it’s not for everyone. I would not recommend Waiting for Godot to people who:
1) Are sticklers for an actual plot in a play;
2) Demand accessible dialogue that furthers this plot;
3) Fall asleep easily in theaters; or
4) Have low tolerance for confusion arising out of a play’s unconventional storytelling techniques.
On the other hand, Godot would appeal to anyone who:
1) Has ever seriously pondered that ultimate question of “What am I doing here?”;
2) Has a good-humored view on the futility of answering that question definitively;
3) Enjoys Seinfeld or other similar “shows about nothing”; or
4) Is a fan of Beckett or any of this production’s stars: Nathan Lane, John Goodman, Bill Irwin, and John Glover.
For those in the latter group, Godot’s depressing but telling depictions of life in the post-modern world should resonate. The play exposes many of our most private fears (not finding meaning in our lives, not connecting with God, living bored and alone, etc.) and makes them universal and relatable. But most of these sentiments are more poignant when read than acted, and onstage, their profundity can get lost in rapid-fire, mumbled dialogue and outrageous but distracting physical comedy.
To be sure, the acting in this production is solid. As the more irritable and achy tramp Estragon, Nathan Lane gets funnier and funnier as the show goes on, culminating in a gaspingly hilarious scene in which he goes crazy with a whip. Bill Irwin’s Vladimir is the more patient and hopeful of the two, and his clownish mannerisms and good-natured tone make him easily likable. They have good chemistry together, but despite their comedic antics, there is only so much they can do to lift the material out of the sometimes sluggish and mind-numbing pace. When Lane lets loose an amusingly painful cry after being handed his umpteenth radish of the show, it might as well sum up the exasperation that can arise from sitting through a night of waiting for these two bums to stop waiting.
Fortunately, John Goodman and John Glover provide some much-needed flavor into the mix. Goodman brings a potent, larger-than-life presumptuousness to Pozzo, and Glover gives the tour-de-force performance of the show in a jaw-dropping, stream-of-consciousness speech in the first act.
By the end, the emotional punch that had been missing for much of the play finally reaches saturation. The final line is delivered with splendidly moving simplicity. We’re left with a sense of willfulness and camaraderie that make this play, however dry and dismal it can be, surprisingly hopeful.
*******************
Waiting for Godot plays at Studio 54 at 254 W. 54th St. (between 8th and Broadway) through July 12, 2009. Tickets: $36.50 – $121.50
*******************
Following Godot, I attended an after-party sponsored by Hiptix, a Roundabout Theatre program that regularly offers people under 35 discount $20 tickets to its productions and occasionally throws in free parties following the shows. This one was held at Iguana, a restaurant and dance lounge at 240 W. 54th St, and it was quite the happenin’ social event.
Godot Hiptix party at the Iguana. Photo by: Pearl Chen
Going into Iguana’s vibrant, candlelit basement, I was instantly greeted by a slew of young, under-35 theater-goers, live music, and a full bar. Unlike the last Hiptix party I attended, which provided snacks, this one had free wine (pinot noir and chardonnay) and served a full dinner (chicken wings, pasta, veggies, rice, beans):
Dinner served at Hiptix party. Photo by: Pearl Chen
People had mixed reactions to the show. While some didn’t care for the material (“They did as well as they could within the confines of a Beckett play,” said one), others were more positive.
“The text really holds up in a contemporary setting,” said Nick, 25, while his friend, Robbie 26, added, “Comic timing was what made the show.” Whether the play’s more serious underpinnings came across was less clear. “The philosophical weight of the show may have disappeared when you have contemporary comedians playing to a modern audience,” Nick said.
Was this Hiptix event something they’d consider going to again in the future? Both agreed an after-party made the price of the ticket “totally worth it.” Even though the venue really was too loud to have any meaningful discussions about theater, and no cast members made appearances, it definitely provided the chance to meet others who had similar interests. “This is a reasonably good social event for like-minded theater-goers,” said Racquel, 27. Free food, drinks, and friends: Not a bad way to cap off a night on Broadway.
Last 5 posts by Pearl Chen
- Monetizing Emma - August 17th, 2010
- The Addams Family - August 6th, 2010
- Million Dollar Quartet - June 1st, 2010
- This Side of Paradise - April 27th, 2010
- American Idiot - April 17th, 2010
