Waiting for Godot @ Parramatta Riverside Theatre

Waiting for Godot @ Parramatta Riverside Theatre

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Posted 2014-03-07 by Simon Lenthenfollow

Wed 05 Mar 2014

Waiting for Godot is Beckett's classic play about two men who try to find ways to pass the time while waiting for Godot to meet them. Beckett explores the themes of memory and uncertainty, with a few diversions into the class system and religion, although Beckett claims that there is no intentional depth to the play.

[ADVERT]It draws on the traditions of vaudeville, clowning and pathos to study two down-on-their-luck men, Estragon and Vladimir. Estragon is a down-to-earth person who struggles with the practicalities of life whilst Vladimir is intellectual, trying to be wise despite a fading memory. Their musings are interrupted by the arrival of Pozzo and Lucky, an apparent master and servant who are on an undefined journey. After they leave, a young boy informs Estragon and Vladimir that Godot is not able to join them and the story ends.

The story is told twice, and so the play is filled with contrasts. For example, in the first Act Pozzo is clearly a master, holding a long rope tied around Lucky's neck. Pozzo orders Lucky around with indifferent cruelty. In the second act, Pozzo is blind and reliant on Lucky to get around. The relationship between Vladimir and Estragon is also subtly changed. In the first act, Estragon is the parent to Vladimir's belligerent child, in the second Vladimir is the responsible parent coaching a reluctant Estragon to wear shoes or help a struggling Pozzo. As such, the play can be challenging because of its apparent randomness.


Director Cameron Malcher has pulled together a strong ensemble to take on the difficult task of performing this play. Everyone has a moment to shine and in those moments they hold your attention. Errol Henderson as Estragon presents us with a faded larrikin, his long face showing a history of loss and fear. David Atrill brings an eloquent pomposity to Vladimir, his body sore and stiff with age, yet still able to quickly shift into a demanding child if he is not getting the attention he desires. Erica J Brennan luxuriates in the superiority of the upper-class Pozzo, a confident performance. Clive Hobson is great as Lucky, sighing with great burden at his master's every request and he delivers Lucky's speech with a gripping intensity. Finally, Charlie Vaux shows great promise as the nervous boy.

The play is minimalist in style as dictated by Beckett. The set contains a small mound and a twisted gnarled tree. The tree looks as if it has been ravaged by a wind, its branches reaching out like a hand. The mound is not so impressive, some cloth around some blocks.

The costuming is lovely. Estragon's suit looks incomplete and worn, and Vladimir's jacket is ill-fitting and clownish. The whole cast wear bowler hats during the play, not always a great idea as actors eyes were occasionally in shadow. It was easier to relate to the characters when hats were removed or tilted high on the head.

Eye contact was not a great feature in the first act. The actors seemed to go out of their way to avoid it at times, perhaps to emphasise the characters being in their own world. The first act was quite uneven in pace, the actors moved in stilted over-exaggerated fashion to form a series of tableaux. Sometimes lines were not delivered clearly. The laughter from the audience was sporadic and quiet. The second act was much tighter, and energy levels were higher. The audience was more generous with their laughter and I felt that the actors were also connecting better with themselves and the audience. David and Errol carried the second act with great aplomb and pathos. I enjoyed the second act immensely.

If you are a fan of Beckett then it is worth your time to see this strong production. It is only on for a short time, I hope the producers have another opportunity to present this in the future.

#parramatta
#performing_arts
#theatre
#theatre -reviews
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#march
!date 05/03/2014 -- 05/03/2014
%wnsydney
166699 - 2023-06-15 03:31:37

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