Sting & Honey Company’s WAITING FOR GODOT is a Ten-Year Remount You Don’t Want to Miss

On sale: Monday July 12, 2021 10 AM

Sting & Honey presents the ten-year anniversary remount of their critically acclaimed production of Waiting for Godot, by Samuel Beckett. In the fall of 2011, we performed this classic as our inaugural production. To celebrate ten years, and to celebrate the post-pandemic return to the stage, we once again bring you this hilarious and heartbreaking production of the greatest play of the past century.

Presented by The Sting and Honey Company at Regent Street Black Box at Eccles Theater, Salt Lake City UT

Run time: 130 mins

Age policy: Recommended for ages 8 and up. No babes-in-arms. All patrons must have a ticket. The play can be difficult to follow for younger children, recommended for ages 12 and up.

Director’s Note:
If I ever get back to the Twentieth Century,
I guess I’ll have to pay off some debts,
Open the book of my vanishing memory
With its catalogue of regrets,
Stand up for the things I did,
And those I didn’t do,
Sit down, shut up, think about God,
And wait for the hour of my rescue.
–Paul Simon

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Ten years ago, in my director’s note, I started with the statement that Waiting for Godot is not an academic exercise. I still want to say that. And I still want to say that Beckett was not trying to outsmart you. It isn’t necessary to have taken certain prerequisite classes. There’s no key to understanding the play other than your own lived experience. Like any serious artist, Beckett knew better than to speak down to, or try to teach, or––Godot forbid––try to enlighten his audience. Like Shakespeare, he simply wanted to please you, so that maybe you will let down your guard for a couple of hours and remember the most beautiful truth of all: that you are.

Waiting for Godot was conceived and written as a clown show, in the Commedia dell’arte via Vaudeville tradition, and that is how I’ve approached it. It is not merely an existentialist tract wrapped in a clown show’s hide. Beckett loved clowns and clowning. Nearly all the characters in his plays and novels are clowns. Like Chekhov, he understood that comedy––even silliness––helps us to go deeper into tragedy, deeper into profundity.

I have loved coming back to this play. I have loved working with David D’Agostini, Roger Dunbar, and Cameron Deaver again. This is my third Godot, and this time feels more harrowing than ever. It’s funnier. It’s more tragic. It’s more profound, more raw, and more beautiful. And after some of the most difficult years of my life, it’s also more hopeful. Beckett once said that Godot is hope. For him, Vladimir and Estragon are not some weak commentary on the absurdity of the human experience. Vladimir and Estragon are beautiful. In spite of all their faults, in spite of all their folly, in spite of beatings and degradation, they show up. Without fail.

Thank you for showing up to support us. Thank you for supporting us these ten years. Because of you, we go on.

Javen Tanner, 9/21