As a lifelong enthusiast of theatrical masterpieces that challenge conventional norms and provoke deep thought, I eagerly anticipate the upcoming Geffen Playhouse production of Samuel Beckett’s “Waiting for Godot”. Having been fortunate enough to witness the interpretative wonders brought forth by renowned actors like Robin Williams, Steve Martin, and Ian McKellen, I am thrilled to see Aasif Mandvi and Rainn Wilson breathe new life into these timeless roles.
1953 saw the world debut of Samuel Beckett’s absurdist work, “Waiting for Godot” at Paris’ Théâtre de Babylone. After about 40 minutes into the first act, the curtain fell as audience members whistled and jeered disapprovingly. Although critics found the play acceptable, it struggled to sell tickets in advance for its American debut tour three years later in Washington D.C. and Philadelphia, leading to a relocation to Miami’s Coconut Grove Playhouse for a two-week run featuring Bert Lahr and Tom Ewell. Marketed as “the laugh sensation of two continents,” it left vacationers puzzled and labeled as a play where nothing happens. The response was so anticipated that taxi drivers waited outside the theater for early leavers. Unsurprisingly, the New York engagement was subsequently scrapped.
Aasif Mandvi, who portrays Estragon opposite Rainn Wilson’s Vladimir in the Geffen Playhouse production (Nov 6 – Dec 16), finds it intriguing to observe the audience’s reactions when we debut this piece for the first time. He enjoys creating discomfort among the spectators, as it encourages them to focus more intently on the performance. This production is directed by Judy Hegarty Lovett and also features her husband Conor Lovett, along with Adam Stein.
On a barren country road beside a bare tree, the homeless individuals Estragon and Vladimir linger for an elusive character known as Godot. As time passes, they encounter Pozzo, who harshly mistreats his servant Lucky. In due course, a young boy, either Lincoln Bonilla or Jack McSherry, who tends goats for Godot, informs them that their expected visitor will not arrive and to return tomorrow instead. The second act unfolds in much the same manner, leading Irish critic Vivian Mercier to label it as a play where “nothing happens, yet it happens again.
Over the years, this play has been a magnet for talented actors, drawing big names such as Robin Williams and Steve Martin, who were led by Mike Nichols in a highly esteemed 1980s Lincoln Center performance. In 2007, Broadway stalwart Wendell Pierce took on Waiting for Godot in New Orleans’ Ninth Ward to aid Hurricane Katrina victims. There was also a 2013 Broadway staging with Ian McKellen and Patrick Stewart. The following year, another production is set to debut, starring Keanu Reeves and Alex Winter from Bill & Ted’s Excellent Adventure.
This play lacks traditional dramatic aspects such as a clear plot, rhythm, and character development, instead offering blank spaces for actors and directors to fill. As a result, it becomes an open-ended theatrical interpretation, much like a Rorschach test in art therapy. It can be perceived as a political commentary on the oppressive nature of the ruling class or a philosophical exploration of humanity’s role in the universe. Alternatively, it might delve into themes of friendship, futility, and the struggle of existence, or it could simply be none of these things. Beckett himself expressed confusion over its complexity, stating, “I can’t fathom why people make something so simple so complicated.
Mandvi, renowned for his work on The Daily Show as their “senior Muslim correspondent,” posits that the topic could be God, capitalism, or power struggles – perhaps all of them. He’s known for his Obie Award-winning one-man show, Sakina’s Restaurant, and collaborations with director Trevor Nunn and playwright Tony Kushner, who won a Pulitzer Prize. According to Mandvi, it’s not about dissecting the subject; instead, it mirrors Beckett’s style, providing actors with no traditional elements like characters, setting, motivation, or plot. This freedom allows them to create their own interpretations.
Wilson is well remembered as Dwight Schrute, the sly regional manager on the popular series The Office, for which he received three Emmy nominations. Prior to this role, he honed his acting skills at NYU’s Tisch School of the Arts and gained considerable experience working off-Broadway, making his debut in a Shakespeare in the Park production titled “The Twelfth Night“.
Wilson notes that the piece is similar to “Hamlet” in its enduring, ageless nature. Just as there are countless versions of Hamlet, so too will there be many interpretations of this work. In act two, he mentions a line, ‘In an instant, all will vanish and we’ll be alone once more in the midst of nothingness.’ This line could evoke deep emotion, striking a chord in someone’s heart, or it can be played for laughs with an exaggerated delivery.
Judy Hegarty Lovett has led 19 productions of Samuel Beckett’s works for Gare St Lazare Ireland, a theater company she co-founded with her husband. This Irish company is well-known for staging Beckett’s plays and literary pieces. In 2006, she took charge of all seven radio plays by Beckett, and in 2021, she oversaw the production of a six-hour film adaptation of his novel “How It Is“.
According to Mandvi, she’s offered a great deal of advice that boils down to “letting it be,” which suits her understanding of the story’s flow, humor, and language. Moreover, she has given us the freedom to explore the play based on our unique perspectives as individuals, each bringing our own interpretation to the table.
Wilson admires his director’s profound understanding of Beckett’s work, regarding her as a vast source of knowledge. He considers playing Godot to be the most demanding acting experience he has ever encountered. “She encourages us to experiment, explore, and discover. However, she emphasizes that the words must be spoken clearly, with the right rhythm and tempo, and they should be respected in the way they deserve. The challenges are immense, both physically and emotionally. At times, the language is extremely poetic, at other times, as familiar as everyday speech in Los Angeles, and sometimes it’s this bewildering nonsensical dialogue, leaving us wondering, ‘What on earth are they discussing?’
Wilson initially came across the play during his days as a student at the University of Washington, where he performed a scene alongside a classmate named Holiday Reinhorn who would later become his wife. He admits that it has always held a significant spot in his heart. Reflecting on his initial reactions to Godot, he shares that at 20 years old, he was not yet capable of perceiving the play’s deeper, darker aspects.
In Mandvi’s perspective, one of Beckett’s strengths lies in his seamless transition between moments of sorrow and humor. As Vladimir and Estragon demonstrate in this play, they engage in silliness, storytelling, banter, and even cruelty towards each other – yet also show affection, love, and tenderness. This, according to Mandvi, represents an authentic depiction of life. The narrative begins where it concludes and ends where it commences, creating a cyclical experience that echoes the realities of existence.
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2024-11-08 01:55