By Ashlei Havili Thomas
Considered one of the most prominent plays of the 20th Century, Waiting for Godot by Samuel Beckett is a few centuries younger than most plays mounted by the Grassroots Shakespeare Company. However, this production at Third Space Studios in Provo, Utah fits seamlessly into Grassroots’ wheelhouse. Grassroots Shakespeare Company is unique, focusing on “original practice” Shakespeare; their direct address—talking to the audience directly and encouraging audience participation with heckling, answering questions, etc.—and their bare-bones performance style hark directly from Elizabethan times. Both of these elements work perfectly with Waiting for Godot, which takes place in the same setting for the show’s entirety and features only five characters. This classic story provides plenty of laughs and audience introspection, making it the perfect storm to enjoy on a warm July night.
Waiting for Godot takes place over two evenings, with the break between acts serving as transition between them. It follows Vladimir (nicknamed Didi) and Estragon (nicknamed Gogo) as they wait by a tree for a third character, Godot, who is to arrive before nightfall. They search for ways to pass the time, covering various subjects in order to distract themselves from the seeming endlessness with which they must wait. They encounter three other characters as they wait: a man named Pozzo, his slave Lucky, and a Boy. Pozzo and Lucky in Act One are on their way to a fair so Lucky may be sold. Lucky is seen as an object of curiosity for Didi and Gogo, who ask many questions of Pozzo about his slave. In Act Two, we meet Pozzo and Lucky again, though Pozzo has gone blind and Lucky mute. The Boy arrives at the end of each act, informing Didi and Gogo that Godot will not be arriving, but should come the following day. While it is unclear if it is the same boy each day or his brother who also works for Godot, it is through him we glean the little that is known of Godot: the color of his beard (white), his temperament as a master (he beats the Boy’s brother, but not him), and what it is Godot does (nothing). Much of the play is open to interpretation by the cast and audience, giving the actors room to play with different ideas as to the identity of Godot, the relationship between Didi and Gogo, and why they must continue to wait.
Gogo and Didi are played by Grassroots regulars Soren Budge and Addison B. Radle. Both Budge and Radle are strong linguists, giving added meaning to seemingly nonsensical passages in Beckett’s play. Similarly, Budge and Radle complement each other well. The bulk of the show rests on them, and this play truly gives them a chance to shine. Budge’s dark-tempered Gogo provides perfect contrast to Radle’s optimistic and introspective Didi. Paired with their physical comedy and command of presence, there is little this duo cannot accomplish. The actors put together all their props and costumes themselves, and Budge truly shines in this aspect. The sumptuous textures juxtapose well with the frayed holes and muted coloring of his costumes. Radle’s performance in Didi’s musings and philosophical ramblings is captivating, leading the audience on their own introspections throughout the show.
Pozzo and Lucky (Tyler Harris and Brooks Lindberg) are a stark contrast to Didi and Gogo. Harris’ Pozzo is larger than life. His arrogant blusters make him repugnant and oddly fascinating, especially when we are reintroduced to him in the second act as a blind man. While the audience may find it easy to hate Pozzo in Act One, Harris brings added color and humility to the character in Act Two as he stumbles about the stage. Lindberg is a marvel to watch. As Lucky, his largely awkward and quirky movements make him almost impossible to ignore while onstage. His brief moments of frenetic energy between exhausted stillness leave the audience unsure if they should laugh or cry. His monologue in Act One is particularly riveting, giving those watching a sense of fascinated horror. Brandon Bills doubles as the Boy and sound effects during the show. Though Bills sports a full beard and is the same height as both Radle and Budge, his physical affectations, costuming, and vocal cues make him completely believable as a young boy.
Music for the show is provided by Gary Argyle on the guitar. His musical cues and song choices provide a perfect score for this understated play. Both his music and Bills’ sound effects blend well with the intimate performance space to truly envelop the audience, allowing them to enjoy the performance without distraction. Third Space Studios’ small, intimate space allows the audience to enjoy the show from comfy couches and loveseats. The stage setting is sparse, with the only fixed piece being a tree that is referenced throughout the play. Likewise, the lighting is minimal, with small lights strung along the entire ceiling creating a lowlight ambience for the space.
While I believe this show is a family friendly affair, I do think younger children may miss the finer points of the show, as it is more abstract. There is brief mention of suicide and sexuality. Those unfamiliar with Historic Downtown Provo may have trouble finding the location, situated on the south side of Center Street between 300 West and Freedom Boulevard:going early to find parking and the front door is recommended. This is not a play put on very often in Utah Valley, and well worth the trip! The run is short, so don’t wait around to see the Grassroots Shakespeare Company performing Waiting for Godot by Samuel Beckett at Third Space Studios in Provo, Utah.
The Grassroots Shakespeare Company presents Waiting for Godot by Samuel Beckett.
Third Space Studios, 247 W Center St, Provo, UT 84601
July 19, 27, 2019 7:00 PM
Tickets: $7-12 at the door
Contact: 707-722-7529 bard@grassrootsshakespeare.com
www.grassrootsshakespeare.com
The Grassroots Shakespeare Company Facebook Page
Waiting for Godot Facebook Event
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