Review: Waiting for Godot

✮✮1/2   “Why people have to complicate a thing so simple I can’t make out,” remarked Beckett on the multitude of different interpretations which sprang from his play. Perhaps so, but as this two-and-a-half hour whale swims interminably along, it’s difficult not to find its religious and sociological overtones a little tiresome. The fine cast […]

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Royal Court’s minding the Footfalls, but Not I…

Stage editors Costanza Bertoni and Frank Lawton give their takes on this Beckett trilogy. Were they at the same play? Costanza Bertoni Imagine yourself in a photography dark room. Red lighting off, darkness, but your eyes  faintly adjust to the contours of the developing image before you, rippling in the liquid. The Royal Court’s production of Beckett’s Not I, Footfalls […]

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Endgame – Praise for the Ultimately Absurd

✮✮✮ “Finished, it’s finished. Nearly finished.” The opening line of Beckett’s absurdist icon Endgame is a neat illustration of the play’s style: razor-sharp, black-as-hell wordplay and self-reference combined with an utterly bleak existential outlook. It is a titanic text to attempt to do justice, but Will Felton’s production with Fools and Kings Theatre attacks it […]

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Endgame off to a promising start

‘There’s a humanity in Endgame,’ director Will Felton tells me, ‘which is often overlooked.’ This is a bold claim to make – and if I hadn’t already seen what this production’s cast of four were capable of, I’d probably have scoffed. This Fools and Kings production of Endgame is every bit as unsettling as the best Beckett […]

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Review: The Lesson

Rarely has the phrase “My tutor’s going to kill me” had greater resonance. In Eugène Ionesco’s The Lesson, the Pupil (Missy Malek) arrives at the house of the Professor (Hannah Bristow), ready for a lesson in which “Arithmetic leads to philology and philology leads to crime”, in the words of the Professor’s Maid (Benedict Tate). The […]

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