Worth the Wait for Whishaw
“Nothing Happens. No-one comes. No-one goes. It’s awful!”
Estragon
James Macdonald has injected a freshness into Samuel Beckett’s iconoclastic play of 1953. This is a kinder Waiting For Godot, one easier to relate to, and even at two and three quarter hours not so intensely without action. I think it also helps casting a younger Vladimir in Ben Whishaw whose warmth of personality has charm and on stage he is mesmerising.
Rae Smith’s beautiful, frosty covered set is attractive with the skeletal outline of the bare branched tree. The set slopes up towards the rear of the stage, an uplift of promise, and somewhere for the child messenger (Alexander Joseph) to be silhouetted above, as he enters and leaves. Vladimir shelters timidly behind Estragon (Lucian Msamati), a more solid figure making the assumption by Vladimir, that he is heavier than Gogo, absurd to us all. The weight discussion comes up in the first talk of hanging and ending it all. This is a theme of existentialism, the proposition that all existence is pointless because death is inevitable just as Godot’s arriving is never going to happen.
The nervous giggling of the Haymarket audience has a certain irony when we look at the hopelessness of waiting, cold, thirsty and hungry, for someone who doesn’t send a text message to say that they are delayed. James Macdonald has maximised the comic opportunities. Each time Estragon suggests leaving, Vladimir refrains “No,” Estragon says “Why?” and Vladimir says “We are waiting for Godot.” But the giggling is understandable because one way of finding relief is to laugh and Whishaw and Msamati convey terrific physical comedy. A highlight is the musical chairs theme, like a music hall routine, two people and three hats to exchange in turn.
It is more difficult for me to laugh at the slavish Lucky (Tom Edden) and his vile master Pozzo (the magnificently evil Jonathan Slinger) because of the indignity suffered. Pozzo manipulates and persuades Vladimir to feel sorry for Pozzo as he blames Lucky for their situation. Vladimir then verbally assaults Lucky which is out of character.
Lucky’s speech in Act One is made without his hat as if part of his brain has been removed. It is a 700 word monologue of nonsense and confusion and listening to it is a bit like being trapped on the underground by someone with mental health problems shouting in your face.
Bruno Poet’s subtle but significant lighting turns red with the arrival of the boy. After the interval the tree has miraculously sprouted some healthy green leaves. Slowly the ground turns green. Vladimir sings a song and on that showing I don’t think anyone will be queuing to book Ben Whishaw for a musical, but it might be acting!
In conclusion Estragon explains the incongruity of their bond when he says to Vladimir, “Don’t hug me. Don’t touch Me. Don’t Speak to me. Stay with me.” You may identify with the futility and pain of human existence or you may make the best of it! I found I couldn’t take my eyes off Ben Whishaw so go for him!
If you have to see Waiting For Godot this is the one to see!
Production Notes
Waiting For Godot
Written by Samuel Beckett
Directed by James Macdonald
Cast
Starring:
Ben Whishaw
Jonathan Slinger
Lucian Msamati
Tom Edden
Alexander Joseph
Luca Fone
Ellis Pang
Creatives
Director: James Macdonald
Designer: Rae Smith
Lighting Designer: Bruno Poet
Sound Designer: Ian Dickinson, Niamh Gaffney
Movement Director: Lucy Hind
Fight Director: Enric Ortuno
Information
Running Time: Two hours 45 minutes with an interval
Extended and Booking to 21st December 2024
Theatre:
Theatre Royal Haymarket
18 Suffolk Street
London SW1Y 4HT
Telephone: 020 7930 8800
Website: trh.co.uk
Reviewed by Lizzie Loveridge at the
Theatre Royal Haymarket performance
on 19th September 2024