Waiting For Godot review: Beckett’s ‘Laurel and Hardy’ lift gloomy Godot

Waiting For Godot review: Beckett's 'Laurel and Hardy' lift gloomy Godot

Waiting For Godot (Theatre Royal Haymarket, London)

As a seasoned opera-goer with a penchant for the grandeur and intricacies of these timeless performances, I must admit that I found myself rather bewildered by the Royal Opera’s production of Eugene Onegin. The stage, devoid of sets and brimming with peculiarities, seemed to have been raided by Putin’s operative antique dealers.

Verdict: Exquisite torture

Every night, the clock chimes midnight and time inevitably moves forward. Despite my long career as a critic, I have skillfully dodged the production of Waiting For Godot. Although I read this play in school, Samuel Beckett’s profound exploration of existential angst remained untouched by me until now, leaving me untainted like an unspoiled virgin.

As a devoted admirer, I’ve long been hesitant to encounter this work of futility anew, thinking I had already grasped its essence. The countless accolades it had received made me feel as if I had witnessed it before. However, being tightly controlled by the Beckett Estate, with meticulous stage instructions that must be followed, I expected little change from past productions.

The arrangement of two men anticipating, in futility, the emergence of a mythical savior named Godot is widely recognized. As stated by renowned 20th-century theatre critic Kenneth Tynan, a simple look at the cast list makes the ending clear: Godot never shows up. However, there’s no real need for a spoiler alert since this is the essence of the play. The sentiment is encapsulated in the dismal line “we are born astride the grave, daylight gleams for an instant, then it is night once more”. Understanding the play isn’t just about comprehending its content; it’s about experiencing its melancholy.

It’s more delightful to see a play performed live rather than reading it in a script. Reading it can feel like a dreary blueprint for giving up. But on stage, it transforms into an almost cheerful comedy duo reminiscent of Laurel and Hardy, occasionally interrupted by a flamboyant character named Pozzo (played by Jonathan Slinger), who resembles a grand squire, and his companion, Lucky (played by Tom Edden), who is portrayed as a human pack animal.

Waiting For Godot review: Beckett's 'Laurel and Hardy' lift gloomy Godot

As Godot fails to appear, the evening becomes a waiting game, and these two – Msamati and Whishaw – excel at passing the time. Whishaw portrays the skinnier, more anxious character, reminiscent of Stan Laurel. He’s full of twitches and has a tender, wistful side. On the other hand, Msamati takes on the role of the older, heavier, Oliver Hardy-like figure, suffering from aching feet. He’s sadder, more cynical, and prone to irritability.

Slinger, on the other hand, nearly outshines everyone with his arrogant portrayal of the snobbish squire, donning a Homburg hat. Desiring validation and admiration, he stirs jealousy and disgust among the vagabonds by swigging from a wine bottle and nibbling on a chicken drumstick. Meanwhile, Edden’s character, Lucky, steals focus with his drooling, undead performance that breaks into a bizarre sermon filled with religious jargon.

James Macdonald thoroughly searched the text for any humor or reassurance, so even though I have no basis for comparison, I assume this is as good as it can get. Enduring its relentless two hours and forty minutes was challenging, maybe that was the intention. But for me, my wait has finally ended. I’ve attended the scheduled meeting with Godot after all.

Until December 14.

Marilyn gives complex US politics a lift

Here In America (Orange Tree Theatre, London)

Verdict: Stars and strikes

Arthur Miller, a renowned American playwright, made a firm decision never to collaborate with Elia Kazan, a distinguished director, again following Kazan’s act of naming associates as communists before the House Un-American Activities Committee in 1952. David Edgar’s thought-provoking play delves into the reasons behind Kazan’s actions and the intriguing fact that Miller, who was also summoned by the committee in 1956, eventually chose to work with Kazan again, on their production of After The Fall.

Essentially, it centers around idealism versus practicality, a common theme in Edgar’s renowned political plays. However, these intense debates are made more relatable and less heavy due to the emotional input provided by Kazan’s first wife, Molly Day Thacher, and Miller’s second wife, Marilyn Monroe. Without their influence, the men’s discussions might resemble the tedious proceedings of a committee.

In James Dacre’s well-balanced production, Shaun Evans portrays Kazan as a moral irritant, defending his actions of betraying friends because they were due for it, he only sought work, and they would have acted similarly. Michael Aloni, on the other hand, plays Miller with an air of ethical rigor, finding himself in less dire circumstances since he never (unlike Kazan) was a member of the Communist Party).

Faye Castelow portrays Molly who pushes the men to get straight to the point, whereas Jasmine Blackborow’s character Marilyn stands firm on Miller maintaining his stance of not revealing names (for which he received a suspended one-year prison sentence). The reason for this renewed focus could be that America is again divided within itself.

Until October 19.

This Roman warrior could do with losing his temper

Coriolanus (National Theatre, London)

In simpler terms, Coriolanus, a character from Shakespeare’s play, can be likened to the tough and temperamental footballer Roy Keane of ancient times. He was a Roman warrior who displayed immense power, swiftly conquering towns like a celestial body. Moreover, much like the former Manchester United captain, Coriolanus is often portrayed as an artist in the heat of battle, prone to explosive anger. However, unlike Keane, the character played by David Oyelowo in various adaptations is more polite, reflecting his role as the peaceful Martin Luther King Jr. in the 2014 film Selma.

Request him to lower himself to argue convincingly for being appointed as a Consul by the Romans, since he is present here, and the usually temperamental General might explode in an overwhelming outburst. He seems to become agitated more quickly than a watch. However, Lyndsey Turner’s remarkable production transforms his narrative into a foreboding resemblance of dystopian sci-fi films like The Hunger Games. With a background score reminiscent of cinema, the play’s profound discussions on political populism are seldom highlighted.

Rather than Es Devlin’s set being overshadowed, it is the neo-fascist brutalism that powerfully stands out instead. The play primarily takes place within a museum setting, surrounded by columns, busts, and the iconic statue of Romulus and Remus nursing at a she-wolf. This historical context serves as a vivid backdrop for characters such as protesters who deface it (in a subtle reference to Just Stop Oil), making the past not only history but also the present they inhabit.

In a manner reminiscent of a photo shoot, the actors frequently repositioned the furniture, which could have agitated a character like Coriolanus. However, Oyelowo’s portrayal of the warlord is calm and composed. He plays more like a slightly irritable Raheem Sterling than a fierce midfielder with an explosive temper. There’s no cause for alarm.

Until November 9.

A Face In The Crowd (Young Vic, London)

Verdict: Hit and miss

As an ardent admirer, I must say that the latest musical creation by Elvis Costello, titled “A Face In The Crowd,” is nothing short of extraordinary! The rhythm and lyrics in this production are simply outstanding. However, I can’t help but notice a less penetrating portrayal of American politics, which is a slight disappointment given its subject matter.

When Marcia’s television show experiences a significant increase in ratings, Larry receives an opportunity to host his own program. In this new role, Larry becomes overly aggressive and is selected to support a shy Republican candidate during their presidential campaign. This scenario evokes memories of controversial figures like Steve Bannon endorsing Donald Trump.

Costello’s diverse musical composition is filled with powerful rock tracks, and the title song serves as a passionate, gospel-infused anthem. There are also sweet country and western tunes that remind one of homemade apple pie. Costello showcases his talent as a jingle writer in a humorous advertisement for Vitajax, a pep pill. Later, he presents a lively hoedown celebrating the consumption of red meat, Blood, and Hot Sauce.

In a different wording: Ramin Karimloo, who gives the show life and spirit as Mr. Rhodes, plays energetically and sings powerfully, even making bitter politics sound sweet like candy floss. However, this alone doesn’t generate much chemistry with Anoushka Lucas’s rather formal Marcia, whose voice is weak and reminds one of Norah Jones in a sad manner.

Kwame Kwei-Armah has gathered an effective group for his final show at the Young Vic, however, the performers seem to be lost in vast, echoing areas on Anna Fleischle’s vintage 1950s stage design. The musical aspect is enjoyable for two and a half hours, but comedically it fails to make the intended impact – not quite striking the mark as intended.

Asi Wind, Incredibly Human (Underbelly Soho)

Verdict: True confessions of a con artiste

Reviewed by Georgina Brown for the Daily Mail

Have you heard that the possible solutions for a Rubik’s cube total 43 quintillion, which is enough to stretch from Earth to Pluto over 730 times? In his recent astonishing performance, illusionist Asi Wind manages to solve not one, but two Rubik’s cubes simultaneously, with his eyes closed! The spectacle appears magical, but it’s all genuine skill; a mesmerizing display of Wind’s mental acumen, extraordinary memory, and dexterity in both hands. The secret lies in an algorithm.

What is his main argument? Wind challenges the concept of magic by flipping it upside down. In a straightforward manner, he declares, “I will deceive you frequently,” revealing his deck of cards as evidence. A sparkle gleams in his eyes, suggesting that he is known for being an exceptional liar, indeed, nobody lies quite like Wind.

In a relaxed black attire, he seems more like a math teacher than a performer. He’s more about action than words, and his conversation is straightforward. Yet, for an astounding 80 minutes filled with amazement and shock, he seems to read minds, masterfully manipulate a deck of cards, play hidden songs from a secret playlist, tear a page from Animal Farm, burn it, then miraculously reattach it – all without showing any signs of exertion.

One creative method he employs involves subtly molding a small chunk of clay. All of a sudden, the distinct silhouette of an individual whose name appeared on a spectator’s postcard materializes, thanks to skillful use of shadows, onto a projection screen.

Instead, he paints abstract figures using fluorescent paint across four individual canvases. When placed together, they form a portrait of a different celebrity, chosen by an audience member. The vivid likeness of ‘X’ becomes visible under ultraviolet light.

My child was among those asked to step onto the stage with a balloon. One of them, belonging to her, seemed to have a life of its own.

He claims everything is truthful, but actions speak louder than words. Wind appears to be an expert trickster, a master of deception.

Eugene Onegin (Royal Opera)

Verdict: No sets, no ideas except daft ones, well-sung

Opera by Tully Potter for the Daily Mail

The stage appears almost devoid, and the attire seems oddly unsuitable, suggesting that perhaps someone affiliated with Putin has taken or tampered with the props and period costumes. It’s as if this meddlesome individual has infiltrated everywhere. However, you can find beautiful gently-used garments at thrift shops associated with hospices.

It seems likely that the director was abducted by human traffickers and transported to Rwanda. However, isn’t it wonderful that the actors and singers have managed to improvise throughout this unexpected situation? It’s reminiscent of the resourceful spirit displayed during World War II…

I regret to say that I seem to have overlooked certain details while reading the libretto, which is based on Pushkin’s verse novel. Consequently, some rather peculiar incidents occur. Additionally, there appears to be a noticeable lack of serfs to perform tasks such as fetching and carrying, a common occurrence in early 19th-century Russia.

Madame Larina and Nurse Dasha (Filipyevna) bring their own seats along with them at the onset, which causes me to grow concerned about those chairs (since there seemed to be three, we might as well sing ‘Three seats for Tchaikovsky!’). Later, Olga utilizes these chairs to extract Tatyana’s letter to Onegin – given that she leaves out significant portions of it, he must possess some extraordinary ability to interpret the missing parts.

One chair soon disappears. The other pops up in the most unlikely places, even the duel scene, and serves for Olga to do very naughty things with Onegin (he’s the Mr Darcy character) which are not in Pushkin or the libretto.

As a devoted admirer, I found myself in the role of Lensky, tragically reminiscent of Mr. Bingley. In an unexpected turn of events, instead of being shot by Onegin, I chose to take my life. The ensemble, I assume, realized that if the gun had been loaded, no legal repercussions could befall us, much like the unfortunate incident involving Alec Baldwin on that Western set.

It’s quite remarkable how, in just six years, those who were laboring in the fields in Scene 1 have found themselves at a grand ball in St Petersburg, still wearing their charity shop clothes from earlier. The dancing may evoke images of Theresa May rather than the Mariinsky Theatre, but it’s important to remember that circumstances can change dramatically over time.

It appears that the singing is quite impressive. Armenian tenor Liparit Avetisyan delivers a touching performance as Lensky, while Kristina Mkhitaryan, who is Russian but of Armenian descent, beautifully portrays Tatyana. Avery Amereau from America convincingly takes on the role of Olga, and Gordon Bintner from Canada provides excellent tone for Onegin. Brindley Sherratt, who temporarily interrupted his vacation to step in for a Russian performer affected by the Curse of Putin, delivers a genuine portrayal as Gremin. Overall, all roles are well performed.

It’s primarily due to conductor Henrik Nanasi that the audience finds it all so enjoyable, given his ability to elicit outstanding orchestral performances and choral singing. If Ted Huffman and Hyemi Shin, credited as director and set designer respectively, wish to contribute their earnings to a charitable cause, I propose donating to the Distressed Poseurs’ Foundation would be appropriate.

2024-09-27 02:37