Reviews: Pairing Up Waiting for Godot and No Man’s Land
8 / 10
And then, while you may be out having dinner, all the names change. Spooner and Hirst become Godot’s Estragon and Vladimir, the forlorn tramps condemned to an eternity of frustrated hope. Briggs becomes Pozzo, the fatuous landowner on whose property they trespass, and Foster becomes Lucky, his quasi-equine luggage-toting slave. The handsome sets by Stephen Brimson Lewis make a transition as well; when the curtain rises this time, Hirst’s home has lifted away to reveal, in Beckett’s woeful description of the setting, “A country road. A tree.” All that remains of Pinter’s poshness is the ruined classical frame at the proscenium, calling to mind an ancient theater.
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