Reviewing Theatre For Over 40 Years
Worth the Waiting: a glorious “Waiting for Godot” at the Taper
Back in the early 1980s, I was substituting in a local high school when a young lady I knew dashed in. “I have five minutes before my next class. Can you explain ‘Waiting for Godot’ to me?” I can tell that story in almost any company and have people laugh. Even those who don’t know “Waiting for Godot” know enough about it to consider the question ridiculous. Indeed, playwright Samuel Beckett, in keeping with the absurdism which crept into theater with this play, absolutely refused to do any explaining of the thing himself.
The play is, essentially, about waiting – a waiting where, as the first line pronounces, “Nothing can be done.” Often times, this becomes a tedious exercise in that process, but not at the Mark Taper Forum. There an exquisite production elevates the play to something like a wry dream – an essential look at human character, and the elemental humor and pathos of existence.
Central to this success are the duo of Alan Mandell and Barry McGovern, whose connection as the waiting men Estragon and Vladimir becomes a living thing. Their constant intertwining of line, of mood and even of whimsy gives an energy to the piece. This, in turn, keeps one connected to character and content in a play which has lots of both in place of a plot.
The tale, such as it is, is of two men – longtime wanderers – who have been told they must wait for the arrival of a man named Godot in a rather bleak spot on the landscape. So, they wait. Each day, as it ends, a boy (LJ Benet) arrives to say Godot will come tomorrow without fail. It is a fool’s waiting, but it is required, and so this is what the men do. The owner of the land harumphs by, accompanied by a nearly animalistic slave. Still, the men wait.
Hugo Armstrong’s beastly, inarticulate and beleaguered Lucky and James Cromwell’s worldly and pompous Pozzo add to the mood and tone with a fascinating and disturbing physicality. Still it is Mandell’s sighing, fatalistic Estragon and McGovern’s negotiating, honor-bound Vladimir who make the piece as compelling as it is. The tight and active direction of Michael Arabian keeps the thing from devolving, as it sometimes has, into a kind of costumed panel discussion. That vitality proves key.
So does the absolutely remarkable, Dadaist set by John Iacovelli and by Brian Gale, whose projections and lighting effects tie in with the set itself brilliantly. Indeed, be sure you are seated early enough to see the Dali-like shadows which play upon the backdrop before the show begins. It sets just the tone necessary to start sweeping the audience into the mood.
I will admit leaving the theater gleeful. This production is what I always hoped “Waiting for Godot” could be. One thinks of those exceptional plays and playwrights who have arrived since (Suzan-Lori Parks and her Pulitzer Prize-winning “Top Dog/Underdog” come particularly to mind) and been given permission to have characters exist and be explorable, rather than having to live inside a story line. The legacy of this play cannot be overstated. It is a delight to go back and see, in such a powerful production, that initial inspiration.
As for the student who asked me to explain the unexplainable in five minutes, so long ago? The answer was – obviously – no. I have no idea how the essay she was supposed to write in her next class came out, but she was furious at not having a definitive answer. Don’t expect one from me now, either. That’s for you to explore for yourself, after you go see this particularly articulate incarnation of the thing.
And you should go. It would be difficult to find a better rendition.
What: “Waiting for Godot” When: Through April 22, 8 p.m. Tuesdays through Fridays, 2:30 p.m. and 8 p.m. Saturdays, and 1 p.m. and 6:30 p.m. Sundays Where: The Mark Taper Forum, in the Music Center, 135 N. Grand Ave. in downtown Los Angeles How Much: $20 – $65 Info: (213) 628-2772 or http://www.CenterTheatreGroup.org