This production offers a gripping and thoughtful interpretation of the timeless waiting in Waiting for Godot. True to its title, Godot never arrives. Samuel Beckett famously described his play as a “tragicomedy in two acts”. Under James Macdonald’s deft direction, the balance between humour and tragedy is achieved with near perfection.
The two central characters, Vladimir (Ben Whishaw) and Estragon (Lucian Msamati), wait beside a barren tree for the elusive Godot. Physically and philosophically, Vladimir and Estragon are starkly different—Msamati and Whishaw’s physicality perfectly embodies this contrast. Yet their bond is undeniable. They share palpable onstage chemistry, complementing one another’s performances and creating a rich, layered dynamic between their characters.
Ben Whishaw’s portrayal of Vladimir, though occasionally stylised, effectively conveys his discomfort with their existential predicament. His interactions with his hat and the barren tree, alongside the unexpected arrival of Pozzo and Lucky, make for a memorable and multi-layered performance.
Msamati’s Estragon is rich with humour, revealing a man grounded in reality. His attachment to the large stone, where he drifts into sleep or seeks relief from physical pain, and his reactions to Pozzo and Lucky, create an unforgettable portrayal. Msamati’s impeccable timing and superbly nuanced delivery make Estragon not only humorous but deeply relatable.
Macdonald’s direction uses the recurring motif of the hat as a fine mirror of inner and outer struggles with reality. The moment Vladimir dons Lucky’s hat, finding it a better fit, is particularly revealing.
Jonathan Slinger’s portrayal of Pozzo is nothing short of brilliant. It is both gripping and deeply uncomfortable to watch. He commands the stage with a domineering presence, making each scene with Pozzo feel charged with tension. Slinger expertly balances the character’s grotesque authority with moments of biting humour, creating a performance that is as unsettling as it is compelling. His nuanced portrayal captures the volatile power dynamics between Pozzo and Lucky, drawing the audience into an uncomfortable reflection on control, cruelty, and dependence. It’s a performance that lingers long after the curtain falls.
Tom Edden’s portrayal of Lucky injects new energy into the narrative, heightening the tension and offering a stark contrast to Vladimir and Estragon’s quiet existential musings. Edden’s portrayal of Lucky is unforgettable—brilliantly conveying the pitiful yet unattractive face of human servitude, both physical and emotional. His electrifying monologue reveals the fossilised layers of submission, making it one of the play’s most memorable, yet disturbing, moments.
Macdonald’s direction maintains a delicate tension throughout, particularly in scenes featuring Pozzo and Lucky, while allowing moments of absurdity and humour to shine through in Vladimir and Estragon’s interactions. The weight of waiting seeps through to the audience, reflecting the play’s existential themes.
Rae Smith’s minimalist set design of a stark, grey landscape dominated by a solitary barren tree, underscores the bleakness of their world, allowing the actors’ performances to take centre stage.
This is a thoughtful and deeply engaging interpretation of Beckett’s classic work.
A play by Samuel Beckett (1952)
Directed by James Macdonald
Set and costume designer: Rae Smith
Cast includes Lucian Msamati, Ben Whishaw, Tom Edden Jonathan Slinger and the little boy – Alexander Joseph.
Until 21 December 2024
Running Time: 2 hours and 45 minutes including a 20-minute interval
Photo credit: Marc-Brenner