Whether you’re a devotee of the works of Samuel Beckett, or have never experienced any of his plays, it’s doubtful you’ll get an opportunity to experience a better production of his most famous play, Waiting for Godot, than this production currently on show in The Street Theatre in Canberra.
Performed by four of the city’s most accomplished actors under the direction of Caroline Stacey, Waiting for Godot challenges its audience as to its purpose, and that of its characters, who spend their time challenging each other with endless propositions and circular comments as to the meaning of everything and nothing.
The only thing the two main characters are sure of is that they are waiting for someone, or something, called Godot, but have no idea who that is, or when he will arrive. This is a play that has intrigued generations of theatre goers.
Stacey’s superbly modulated production reveals why. Performed on an elaborate, though sparse, setting designed by Veronique Benett, the audience is seated on stage on either side of a long road that runs up through the theatre into apparent infinity. At one end of the road is a large rock, then a long way further up the road is an abstract tree, the purpose for which is revealed as the play proceeds.
A shabbily dressed couple, Vladimir (Christopher Samuel Carroll) and Estragon (PJ Williams) are discovered waiting on this road. Their relationship appears ambiguous and although they are both engaged in the same activity, it is never revealed why.
Despite the endless waiting, the play is by no means static. Stacey’s adroit direction ensures Vladimir and Estragon are rarely inactive as they engage each other in pointless word games and challenges.
Superb actors both, who have worked together previously, Carroll and Williams revel in the opportunities offered by Beckett’s intriguing script to constantly play off each other to contribute vocal and physical nuance to their interpretations within the parameters of the script and Stacey’s detailed direction.
As the play progresses Vladimir and Estragon encounter two other travellers, Pozzo (Craig Alexander) and Lucky (James Scott). Better dressed than the others, Pozzo appears to be the dominant personality because he‘s leading Lucky by a long rope tied around his neck.
Lucky is also laden with parcels and appears to be mute. Although when Pozzo reveals that he and Lucky have been together for 60 years and they are heading to the market to sell Lucky, he proves he’s certainly not mute by breaking into a long, unintelligible rant.
They also meet a boy (Sterling Notley) who claims to work for Mr. Godot, who he says in answer to interrogation, “Does nothing” though he doesn’t know why. Later the same boy denies being the boy they had met the previous day.
One of the bonuses for sitting opposite other members of the audience is the opportunity it presents to watch their facial responses register shock, surprise, hilarity, bemusement, even sadness at the absurdities of the script.
Yes! It’s that sort of play. So, if that sort of play sounds right for you, here’s your opportunity to experience a terrific production of what many consider the most influential play of the 20th century.
Waiting for Godot
The Street Theatre, 15 Childers Street, Canberra City West
Performance: Sunday 17 November 2024
Season continues to 24 November 2024
Information and Bookings: www.thestreet.org.au
Image: PJ Williams and Christopher Samuel Carroll in Waiting for Godot – photo by Nathan Smith Photography | PJ Williams, Craig Alexander, Christopher Samuel Carroll and James Scott in Waiting for Godot – photo by Nathan Smith Photography
Review: Bill Stephens OAM