Center Theatre Group’s production of Samuel Beckett’s classic WAITING FOR GODOT is phenomenal. It will change the way you look at Absurdist theatre. Samuel Beckett has long been considered one of the fathers of the Theatre of the Absurd movement. Ten minutes into WAITING FOR GODOT and it is abundantly clear that he is well deserving of that title. The two tramps, Vladimir and Estragon, spend the play literally waiting for a man named Godot – pronounced “God-O”. Their plight explores the endlessness of nothingness and the hopelessness of being. It is musical, it is cyclical, it is poetry that speaks straight to the soul of a poet. And under the unparalleled direction of Michael Arabian, it is accessible and funny!
With an absolutely stellar cast, Arabian has created an evening of witty laugh out loud banter, head scratching confusion, heartbreak, hope and despair. John Iacovelli’s set design and Brian Gale’s lighting and projection design are beautifully stark and simplistic. They create a monochromatic world with harsh shadows, ominous rolling clouds and several roads that all seem to lead back to a desolate whitewashed skeleton of a tree. This paired with Christopher Acebo’s spot-on costume design create a bleak world where no one wants to, but everyone inevitably gets stuck.
At the helm of the exquisite cast are Beckett aficionados Alan Mandell as Estragon and Barry McGovern as Vladimir. Mandell is mesmerizing. His physicality and non-verbals are brilliant and speak volumes. It is hard to take your eyes off of him when he gets going, yet he is able to gracefully blend into the shadows to give the stage to others when warranted. Mandel turns in an exquisite performance that should not be missed!
McGovern keeps pace with Mandell step for step and together perform like a well-oiled machine. Their timing is superb as they perform bits and go through routines in a fabulously deadpan synchronicity. They have several moments that hearken up images of Abbott and Costello’s famous “Who’s on First” sketch. They are loveable, eccentric and relatable.
James Cromwell as Pozzo turns in an unexpectedly humorous performance and makes a great straight man for Mandell and McGovern. Best known for his serious, authoritative roles in TV and film, Cromwell proves that he’s got a funny bone and when you strike it, you get pure gold. He is able to take an outlandishly, absurd character – he travels with his slave on a ridiculously long rope, and uses the slave’s tongue to put out a lit match – and bring him down to Earth. Which makes his fall in the second act so very poignant.
Hugo Armstrong as the slave Lucky is understated, yet brilliant. His physical theatrics are amazing. He holds himself like a ragdoll, falling down limply like dead weight and otherwise appearing catatonic and inhuman. However, when asked to “think” the diatribe that comes spewing out of his mouth starts off at a low rumble and builds itself up into such a frenetic, frenzied stream of thought that it becomes like the car accident that you can’t take your eyes off of, but are relieved when it’s finally passed. Armstrong’s performance enhances what is already a magnificent evening of anticipation. Anticipation of who is coming next. Where is Godot? Who is Godot? And what happens next if no one comes and nothing happens? WAITING FOR GODOT at the Mark Taper Forum is one of the few shows produced in this city that actually deserved the standing ovation that it got. Well done!
Mark Taper Theatre
Through April 22
Tickets: www.centertheatregroup.org or 213-972-4400
Kat Michels is a two time regional Emmy award-winning writer with an AAS in video production and a BFA in theatre.
