Waiting for Godot

It has been nearly 70 years since the English language debut of this Samuel Beckett classic play. It’s themes echo throughout history and it feels just as relevant today as it was when written in 1848-9. Often penned as ‘the play about nothing’ is far from empty or soul-less, and with fresh direction from James MacDonald combined with outstanding casting, it shines brighter than ever giving us one of the best plays seen in London this year. 

Estragon and Vladimir are two men, seeking something but they’re not sure what. They stand in a barren land with only a willow tree for scenery awaiting the arrival of ‘Godot’, they know not what will happen when he arrives, or if he will arrive at all, but they know they must wait. Time passes at an unknown rate, they have stood here before, how many times is not clear to us or them but the impression given is that it is many as they become increasingly exasperated over their time together. 

The design of the play from Rae Smith remains simple; a barren wasteland of grey, rocky terrain and the all-important single tree allows us to focus on the story and incredible acting. Ben Wishaw as Vladimir is simply sublime, with a heightened nervous energy, wonderful physicality and a talent for physical comedy too.  Ben is giving the performance of a lifetime here and it feels a privilege to witness it. He plays the role with a sense of care and comfort, opposing the grumpy character of Estragon played by Lucian Msamati, who is magnificent in this part. Lucian does a wonderful job of bringing the character to life; with his memory problems and physical ailments, he is slower than Vladimir and often needs reminding of why he is waiting and what he is waiting for. You instantly warm to the character and feel a sense of sadness as they become more and more disillusioned in their waiting. 

The direction from James MacDonald focuses more on the comedy side of this Tragi-comedy using physical humour along with the brilliant writing to elicit huge laughs from the audience. In particular, a wonderful hat swapping scene feels straight out of a Laurel and Hardy film. 

Though the focus may be on the comedy, this does not mean the more hard hitting moments are lost. Jonathan Slinger is the perfect example of a serious actor with funny bones, he excels as land owner Pozzo, a tyrant of wealth exerting control over his man-slave Lucky (Tom Edden). This dynamic is played out to uncomfortable laughs, as we witness the abuse Pozzo inflicts. Though we later see a more human side to the character when he goes through a change and comes to rely on his slave for more than just carrying his bags. Tom Edden is haunting as Lucky, being mute for 90% of his performance and only gracing us with one outstanding monologue which actually shows off his acting ability in a wonderful way. 

This is theatre at its peak. It’s a wonder of thought provoking theatre in which the audience are very much left to come to their own conclusions of the story they have seen unfold. It is a show that is not to be missed, so don't spend too long 'Waiting For Godot', go and see it now! 

This show was reviewed on the 19th September 2024 at the Theatre Royal Haymarket, London where the show runs until the 14th December 2024. Tickets available here: Waiting For Godot | Official Theatre Website (trh.co.uk)

Review written by Rosie Browne

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Photo credit: Marc Brenner

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