Was Godot worth waiting for?

A single tree stands in a bleak landscape. Paradoxically two friends, Vladimir and Estragon, wait both anxiously and patiently for a man who never appears, for reasons we are not privy to. Their only distraction from the interminable wait is the arrival of a different man, Pozzo, and his slave, Lucky. Later, a boy delivers the news that the longed-for Godot will not, after all, be coming today...

Waiting for Godot, an absurdist tragicomedy, has been described as the most significant English-language play of the 20th century and equally, a play where nothing happens. It carries with it the risk of becoming tedious in the wrong hands, and while at times the pace did drop, through tight direction, good use of space and a strong cast, director Mike Huxtable skilfully highlighted the frustration, monotony and contrasting themes of this play, not least through his subtle design; a muted blue/grey palette reflected in Vladimir and Estragon’s costumes, suddenly and harshly infiltrated by the arrival of Pozzo and Lucky in their earthy hues. Small touches such as the beautiful moon, and Estragon’s boots on display during the interval were appreciated.

Gareth Croft as Vladimir (affectionately called Didi) gave a strong, studied portrayal of this complex character; at times anxious, at times furious, simultaneously encouraging and badgering his friend, Estragon (Gogo), played with quiet, resigned despair by Neil Dewdney, who showed good comic timing as a foil to Vladimir’s angst.

While more variation in emotions may have given a little more depth, what stood out was the successful portrayal of their dysfunctional but ultimately touching relationship. Of particular note was Didi’s attempt to sing Gogo to sleep, and their physical connection symbolized by the comforting and reassuring hand holding at the end of act one. The fluctuation between affection and irritation was clear, and we were given an insight into the ways in which they navigate their way through the relentless tedium of life.

Andy Kempe as Pozzo gave us the required pomposity to counter the friends and Ranjan Bhuyan embodied the downtrodden Lucky perfectly, down to his mournful eyes, laboured breathing and precision in fulfilling the tasks his master puts upon him.

The tension building up to his eventual outburst was palpable, and the change in dynamic between the four in the second act was clear, leaving us feeling every empathy for the now blind Pozzo.

In what may be a reflection of the whole piece, and indeed life in general, after helping Pozzo to his feet Vladimir asks, ‘what happens if you fall again, without our help?’ Pozzo’s poignant reply; ‘we’ll wait for help and get up again’ suddenly seemed very significant. Peter Lilleystone as the boy who delivers the news that Godot will not arrive made this small but vital part his own with just the right amount of trepidation (played by Bertie Croft on alternative performances).

While some of the physical business could have been slightly slicker (it’s a shame Estragon’s trousers couldn’t have come down more quickly!) and despite some occasional sight line issues on a full stage, this was a very well-produced piece. On a practical note, the entire cast should be applauded for their line retention on what is a very word-heavy script; it was a brave choice and the players embraced the challenge head on.

‘Shall we just go?’ pleads Gogo repeatedly. Only to be told with muted patience by his Didi that ‘We can’t. We are waiting for Godot’.

HELEN SAXTON