Review: WAITING FOR GODOT at Guthrie Theater

You would be hard pressed to find a story that tackles existentialism better than Samuel Beckett’s 1952 play, Waiting For Godot, a story of two men who sit and wait in a barren landscape for a man known only as Godot. Holding out hope that he will arrive within a few hours and less than a day. Vladimir (Didi) and Estragon (Gogo) pass the time attempting to fend off boredom by posing questions to one another and recounting memories of life. While their banter certainly passes the time, their day gets a boost of excitement when they are met on the road by three other members of this absurdist world: Pozzo, his servant Lucky, and a Young Boy who works for Mr. Godot.

While the theme of existentialism can be a heavy one to handle in a two hour and twenty minute play, Beckett has infused a healthy amount of comedy and wit within the piece to ensure that it never crosses a line into complete dread.

Artistic director, Joseph Haj, has finally taken helm of the show that he has openly shared has been a lifelong dream of his to direct, and direct it he does. In what might be one of his finest outings, Haj has dived headfirst into creating a piece that not only serves the text but also may be one of the most accessible versions of the play. He has striped it down to its barest form and presented it without any bells or whistles, just 5 men placed in a desolate world and forced to come to terms with their own humanity.

This is not to say that Haj has dumbed down the text but instead he has provided the audience an adaptation that is as close to the original as possible in terms of staging it simply and without outlandish visual flourishes.

A main element that has remained consistent in regards to simplicity, is the set. Thanks to scenic designer Marion Williams’ chilling and barren design, they have created a dry and foreboding world for the characters to reside in which feels both expansive and intimate at the same time.

Assisted by the presence of a single dead tree surrounded by debris and remnants of a world that has long since passed and crumbled to dust and stone. While the tree is the central visual point, its design does not distract the audience’s eye but instead grounds us in the reality that one day our world may become too broken to stave off a destruction of our own making, leaving those who remain to find a path forward.

Giving further life to the world of Godot, Costume Designer Trevor Bowen has dressed the inhabitants of this world in clothing that feels lived in and carry the weight and dirt of years gone by. Bowen’s designs are both striking and muted, by using a variety of garments to, initially, show the differences between the classes, he then uses them to show a passage of time and how our circumstances may change on a dime but we retain what we once had, just perhaps in a different form.

Then there are the residents of this absurdist wasteland. David Strathairn takes charge from the very start and does not let off the gas as the wise and hopeful, Vladimir. His ability to give life to DiDi’s optimistic nature, while at every corner it seems that the person he hopes will arrive, may not, is a marvel to witness and helps to instill inspiration in the audience to not give up on your hopes, though our internal hope may begin to dim.

Strathairn demonstrates that he is a titan on the stage, completely living within a man who is complicated and flawed but hopeful and still finds wonder in passing the time with his best friend and enjoying the experience of waiting for something more in life.

Strathairn’s talent looms large but he is met toe for toe by his charming co-star, Jimmy Kieffer, who gives Estragon a life and vibrance that is the perfect compliment to Didi’s somewhat muted take on life. Kieffer is allowed to run the gambit of emotions from his frustrations shared in sudden outbursts to his calmness in realizing that he may have come off as a little hot headed, Kieffer’s Gogo is a perfect compliment to Strathairn’s Didi.

While Keiffer  is a very funny man, his true prowess is on display when playing to Gogo’s softer side. It is especially evident when he must come to terms with the fact that, while Didi and he hope to see Godot by the day’s end, they may need to come back and wait another day for his arrival. The forlorn and somber emotion Keiffer displays is heartbreaking.

Joining Strathairn and Kieffer on the lonely road are three other’s who couldn’t be more different in their characterizations but shine just as brightly in their roles. William Sturdivant provides the most outlandish and over the top version (complimentary) of Pozzo, a traveling aristocrat type gentleman, that may have graced any stage. From the moment he steps on the stage cracking his whip, until he leaves in a similar fashion, Sturdivant brings the hysterics and absurdity to glorious life.

Not to mention Jim Lichtscheidl’s portrayal of Pozzo’s lackey, Lucky. While a very reserved role in Beckett’s work,  Lichtscheidl doesn’t waste a moment when he gets his time in the spotlight with a truly jaw dropping rendition of Lucky’s “thinking” sequence. It is a bonafide stand out moment that is sure to be remembered for years to come.

Rounding out the cast is Antonio Teodoro as Godot’s goat herder and employee who meets Vladimir and Estragon on the road briefly to inform them of Godot’s intention to meet them. It is a small role on paper but Teodoro fully commits to his portrayal of a young man who is delivering a simple message but one that is also quite profound to the two men receiving it.

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