PERFORMANCE REVIEW: Waiting For Godot

Waiting for Godot

Theatre Royal Newcastle, Theatre Royal Haymarket from April 30th

I will freely admit that I went to see Waiting for Godot purely because of the cast list. The opportunity to see Ian McKellen, Patrick Stewart, Simon Callow and Ronald Pickup on the same stage does not come around very often, especially up here in the north. Previous encounters of mine with Beckett’s play had led to total confusion, a headache and on one occasion, a two hour snooze. However, as might have been expected, Sean Mathias’ production leaves me feeling energised and enthusiastic after watching an entertaining display of some of the best acting I have ever seen.

The double act of Ian McKellen and Patrick Stewart, or as most of the packed auditorium probably think of them, Gandalf and Capt Picard, is as spectacular as expected. Taking centre stage on a set built as though a rundown theatre complete with crumbling boxes and wooden floorboards ripped apart by the symbolic tree, they create the perfect pairing for the two tramps. The reputation of these two theatre giants is gently played with, echoed both through the set and the idea that ‘Didi’ and ‘Gogo’ had at one time been a music hall partnership. McKellen’s down to earth and weary Gogo is perfectly matched by Stewart’s more philosophical and optimistic Didi. From the moment McKellen and Stewart crawl onto the stage, the audience is with them. But, as the first half progresses, it is noticeable that the initial sense of awe has turned into a warmer partnership between actors and audience.

Simon Callow is on form as the aristocratic buffoon Pozzo, and Ronald Pickup receives spontaneous applause for his mesmerizing rendition of Lucky’s difficult, baffling and only speech. The beautifully rundown set, designed by Stephen Brimson Lewis, provides the perfect backdrop with a naturalistic lighting design that fulfils it’s purpose brilliantly: you never notice it is there. The only note that jars is the seemingly superfluous soundtrack, that isn’t so much an accompaniment, but rather a series of distracting noises that crops up intermittently, serving no apparent purpose.

Waiting for Godot is a must-see play, not least because of the cast, but due to them arguably making the unwatchable watchable. I must also applaud the decision to tour it. The packed auditorium and enthusiastic audience response proves that although it may not be a great financial move, it does allow many more people to encounter truly excellent theatre.

Jane Williamson