Does life having meaning? Or we just marking time until the end? Questions like this were the hallmark of the group of creatives hailed as existentialists. The pinnacle of these considerations was probably encapsulated in WAITING FOR GODOT, a tale conjured up by Irish playwright and 1969 Nobel Prize winner Samuel Beckett. Initially composed in French in 1948-1949, the play premiered in Paris in 1953, while the English-language version debuted in London in 1955. When the production toured the U.S. in 1955, it was a disaster and was cancelled before it even played in New York – but did eventually reach Broadway starring Burt Lahr and E.G. Marshall in 1956, when it was well-received by critics.
Cast of WAITING FOR GODOT – Photo by Todd Williamson/January Images
Clearly, WAITING FOR GODOT was not for everyone. In the Irish Times in 1956, Vivian Mercier described it as “A play in which nothing happens – twice (both acts).” Over the years, the piece has been described in political, ethical, social, and religious terms, much to the dismay of its author: “Why people have to complicate a thing so simple, I can’t make out (Beckett 1955)…it is a game…everything is a game…it is a game in order to survive (Beckett quoted by Asmus in 1975 and Knowlson in 1996).” Now is the time for all yea-sayers and nay-sayers to re-evaluate WAITING FOR GODOT in a new century, courtesy of the Geffen Playhouse, which proudly presents WAITING FOR GODOT in 2024.
Aasif Mandvi, Rainn Wilson, Adam Stein, and Conor Lovett – Photo by Jeff Lorch
Estragon (Aasif Mandvi) and Vladimir (Rainn Wilson) are waiting and killing time until Godot (someone they know, or maybe don’t know) arrives. Is this to be their life from now on? Other than a big rock and a scrawny leafless tree in their arid environment, there does not seem to be anything to capture their attention. The passive Estragon spends much of his time dozing on that rock, while Vladimir strides about with an internalized and frenetic energy. Their quiet surroundings are shaken up a bit when Pozzo (Conor Lovett) enters leading his mute slave Lucky (Adam Stein) on a long rope which he yanks when Lucky becomes too lethargic. But even that momentary ruffle in time is transitory, and everything soon returns to the nothingness of the two men’s life.
Aasif Mandvi, Rainn Wilson, and Adam Stein – Photo by Jeff Lorch
Skillfully directed by Judy Hegarty Lovett, nothing happening manages to become very funny and involving as the audience joins Estragon and Vladimir in their long wait. The cast of five (add “the boy” played by Lincoln Bonilla, who shows up briefly in both acts to keep the men abreast of Godot’s plans to join them – or not) does an excellent job of injecting a clever and creative something into nothing. Kaye Voyce’s simple set consists of “a country road. A tree. A stone. Evening;” she doubles as costume designer. Simon Bennison’s lighting and Mel Mercier’s sound play significant roles in this simplified, stark, and elemental play.
Rainn Wilson and Aasif Mandvi – Photo by Erik Carter
WAITING FOR GODOT is produced in association with Gare St. Lazare Ireland and offers an excellent opportunity for today’s audiences to experience the existential classic, WAITING FOR GODOT. Even without any major developments, the play manages to amuse and entertain – and, in its own way, become gripping and fascinating.
Aasif Mandvi and Lincoln Bonilla – Photo by Jeff Lorch
WAITING FOR GODOT runs through December 13, 2024, with performances at 8 p.m. on Wednesdays through Fridays, at 3 p.m. and 8 p.m. on Saturdays, and at 2 p.m. and 7 p.m. on Sundays. The Gil Cates Theater is located at the Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles, CA 90024. Tickets range from $36 to $159. For information and reservations, call 310-208-2028 or go online.
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