Sir Ian McKellen, Sir Patrick Stewart, Billy Crudup, and Shuler Hensley in Samuel Beckett’s WAITING FOR GODOT directed by Sean Mathias. That information says it all; there should be no need for an actual review. But, this blog is titled Pat’s OPINIONATED Review and that means that I get to give my opinion.
Our first born daughter told me that she would take me to New York to see a show of my choosing; this was to be my Christmas gift for the next kazillion years. There was very little choice when I saw that the Cort Theatre on 48th Street in NYC was hosting a stellar cast in WAITING FOR GODOT.
My first impression was of the theatre itself. I have a weakness for smaller, older theatres - the type that is beautiful and where the actors do not need amplification to be heard in the cheap seats. The Cort Theatre was perfect for this intimate play.
The set design flowed from the ornate proscenium to the “bare” stage so well that it was hard to tell where the arch stopped and the set began. Usually ...GODOT is done on a practically empty stage with only the tree and some random rocks. Here we were looking at a multi-level set with interesting rocks and what looked like an old cemetery to the side with open graves. The result was still that of emptiness in the middle of nowhere.
I am sure that the reason for the sold out house was partially the play itself. WAITING FOR GODOT has been described as the “ most significant play of the 20th Century”. The trouble with it is how to summarize the plot. If you are familiar with the play, you know the problem; if you have never read or seen it, there is no way I can do it justice. I heard one description that said the first act is about nothing and the second act is a repeat of the first therefor it is nothing happens- twice. Actually, it is two men waiting for Godot and while they wait we hear some theology, some philosophy, some Laurel and Hardy, and some vaudeville routines. There is both tragedy and comedy wrapped in these men.
Which takes us to the, I suspect, the main reason for the success of the evening: Sir Ian, Sir Patrick, Billy Crudup and Shuler Hensley.
To my shame, Shuler Hensley’s name was unknown to me, but I will be watching for it in the future. His stage credits are very impressive so much so that he has been awarded the Stage Performer Of the Year by New York Magazine. While on stage as Pozzo, he appears bigger than life; his physical presence and his voice take over the stage--no mean trick when you consider his co-stars.
Billy Crudup has been the receiver of a Tony as well as Drama Desk, Outer Critics Circle and Olivier Awards. He might be best known though for his roles in movies such as Eat, Pray, Love and Almost Famous. He was physically unrecognizable as Lucky, the worn-out, much put upon slave. The end of his “thinking” scene was the only time the action had to stop for applause. He was very impressive.
For me to critique the argumentatively two best classical actors in modern English theatre seems pretentious on my part. If Ian McKellen and Patrick Stewart are only known to you through the X-Men series, The Lord of the Rings,or Star Trek,The Next Generation, you have only the smallest glimpse of their talent.Their combined careers cover almost 100 years and between them they have won almost every award available for stage and screen work. (That also includes hosting Saturday Night Live).
A true indication of their talent is that never during WAITING FOR GODOT did I ever think of either actor as anyone except Estragon and Vladimir. Sir Ian’s Estragon’s character is a down-to-earth tramp-like person while Sir Patrick played Vladimir as pretentious, but with a bit of a twinkle in his eye. During the extended curtain call, the audience had a chance to see the humor as well as the great respect and friendship between these two men.
I am extremely lucky to live in an area with exceptionally fine theatre and I take in as much as time and budget allows, but it was a dream to see Ian McKellen and Patrick Stewart live. They really are “Knights to remember”.
WAITING FOR GODOT is playing in repertory with No Man's Land through March 2, 2014. Information can be found at http://www.twoplaysinrep.com/.
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