Ending On A High Note
Endgame
The end is in the beginning and yet you go on. Hamm’s words testify that in Endgame essentially nothing happens; yet there is every reason to go and see this play. Though unable to see any purpose in their own lives, the characters serve to symbolise the futility of human existence. The four are rendered progressively helpless by their decaying bodies as they await the infinitely prolonged escape of death. As is always the case with Beckett, it has the potential to be almost unwatchable.
Georgina Guy, however, armed with a superbly able cast, manages to bring out every poignant subtlety with which Beckett has littered the text. The acting is excellent. The complex relationship between the wheelchair-bound, blind Hamm (Sam Thomas) and companion, Clov (Will Fysh) is depicted convincingly as one wrought with tension underpinned by their mutual dependence. Fysh is particularly impressive as the staggering younger man.
Holding all his body tension in his shoulders, he sustains a powerful yet wretched physical stance whilst there is an unnerving tone of barely contained irritation in his voice which it is impossible to ignore. His reluctance to admit his dependence on Hamm is effectively conveyed by the fact that he never makes eye contact with Thomas, whose own wandering, empty gaze convincingly portrays the invalid’s blindness.
The pair of decrepit characters, Nagg (Will Pooley) and Nell (Lotte Wakeham) trapped in ashbins, are depicted in a manner which emphasises their tragedy and heightens our sympathy. Pooley demonstrates an impressive vocal and physical range as he shifts from coaxing Nell, to childlike behaviour when forced to interact with his needy son.
Wakeham is positively endearing in her evocation of his nostalgic, ageing wife, bringing out the preserved mental alertness of the physically restricted character through her quick speaking tempo and clipped diction. The characterisation and flexibility of the actors, combined with the maximum utilisation of all the variations of tone indicated by Beckett in the directions, prevent the pace from lagging and keep the audience fully engaged.
Georgina Guy draws out a pathetically comical dimension to the play through an acute awareness of rhythmical patterns in the dialogue and the relatively high amount of movement around the minimalist set. This production doesn’t allow the play to be simply “something…taking its course” but makes it begin to “mean something.” To see it is a good way to play the endless game of waiting for the end.
2nd Jun 2005