Waiting for godot edinburgh
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What each viewer derives from it says more about them than the play itself. Shakespeare, Pinter, Joyce, all the French philosophers etc.
Exchanging ideas, thoughts, beliefs and, if they're really lucky, end up somewhere they didn't even know existed. Framed by a luminous white light, the stage is a kind of prison, one from which there is no escape and on which Didi and Gogo are constantly called to perform.
They bring to the tramps a greater moral weight than we often see; , for example, were noticeably lighter of foot. Framed by a luminous white light, the stage is a kind of prison, one from which there is no escape and on which Didi and Gogo are constantly called to perform. Suffice it to say it is as hilarious as it is discomfiting. Today I get to see Waiting For Godot on stage. There have also been recent Lyceum productions with noticeably effective sound design, which makes the frequent use of complete silence here all the more striking. When Pozzo proclaims 'but I am liberal in my nature', it seems eerily apt in 2018, as he professes his tolerant ways while holding his slave on a rope. Well, of course, I know who Godot is. Judith Wilkinson and director Simon Dormandy on Thursday 15 May.
Waiting for Godot, Lyceum, Edinburgh, review: 'Puts both the pleasure and the pain into the endless waiting' - Beside the classic single tree, here a stark windblown stick affair, manages to sprout just 3 leaves in act 2, and a stone like a big marble egg on the cracked ground, Estragon Aaron Monaghan and his fellow gentleman of the road, Vladimir Marty Rea wait for the elusive Godot. At their worst, productions of Waiting for Godot can emit a tedious feeling of smug in-joking.
Waiting for Godot at the Edinburgh Lyceum. Or waiting for someone to call. A few branches, a scribble of trunk and bark. A gentle scratch of black ink eclipsing out the blank, lit expanse behind it. And the design, along waiting for godot edinburgh this scratchy tree, is also unashamedly artistic. The cracked earth realm of Estragon Aaron Monaghan and Vladimir Marty Rea has a Surrealist bent to it — Dalí, of course, and Magritte for the bowler hats, but also Leonora Carrington and, with the fissures in the soil, Frida Kahlo. The rock used as a waiting room seat is closer to a giant egg in form than a lump of stone. One is to prove that there is no definitive interpretation of Godot, that the genius of the play resides in its shapeshifting amorphousness. Here, that means pulling out the dark, brittle comedy of the situation through knockabout filial comedy and, in a related manner, the solidified-over-years friendship between the two men. Or rather, a joy to share in. At their worst, productions of Waiting for Godot can emit a tedious feeling of smug in-joking. Shakespeare, Pinter, Joyce, all the French philosophers etc. Didi and Gogo gently tease each other, or at most briefly bicker, but there is none of the cruelty or malice that other performances of the characters trade on. Waiting for Godot is on until 12 August 2018 at the Lyceum in Edinburgh.
