Waiting for Godot: A Mesmerising Revival at the Theatre Royal Haymarket

James MacDonald, the director of this production of Waiting for Godot, described the play as follows:

“Waiting for Godot is all about two men who have absolutely nothing, waiting for something. It contains great joy and intense irritation. I think it’s a metaphor for what all our lives are like. That we just have to find ways of entertaining ourselves faced with a world that won’t give us answers.”

Often described as a play where nothing happens—twice—Waiting for Godot revolves around two tramps in a void, waiting for Godot, who, as it’s no spoiler to say, never arrives. Instead, the audience receives messages from him, encounters other characters, and observes their plight on a desolate landscape effectively designed by Rae Smith.

All of Samuel Beckett’s works, including this one, remain under the vice-like grip of his estate, which rigidly enforces the original casting and stage directions. An all-female version of the play, for instance, was issued a legal notice to cease and desist. This strict oversight limits the creative liberties directors can take, making it particularly interesting to see what Jamie Lloyd might achieve when he directs the play on Broadway next year, featuring Keanu Reeves and Alex Winter of Bill & Ted’s Excellent Adventure fame.

Waiting for Godot has attracted numerous renowned actors over the years. Nathan Lane and Bill Irwin tackled the roles on Broadway, and in 1988, Steve Martin and Robin Williams brought Vladimir and Estragon to life. These parts appeal not only because Godot is a theatrical classic, but also because they are rich clowning roles offering a dynamic blend of comedy and pathos. I last saw it at this same theatre in 2009 with Patrick Stewart and Ian McKellen, a memorable production marred only by a misjudged curtain call, during which they performed a Flanagan and Allen routine that undercut the play’s profound conclusion.

I approached this production with some apprehension, but I needn’t have worried—this is far, far better. Lucian Msamati (Estragon) and Ben Whishaw (Vladimir) are outstanding, masterfully balancing the comedy, pathos, and tension between the two characters.

Another remarkable aspect of this production was the audience. Since COVID, it seems theatres have become quieter; Harold Pinter once quipped that theatres were places where people went to cough. Here, however, you could hear a pin drop during the many pauses. To be part of an audience so utterly immersed in the performance was wonderful.

The cast isn’t limited to a double act. A young boy, played by Ellis Pang at my performance, delivers a message from Godot. Additionally, there are the characters Lucky and Pozzo.

Lucky, Pozzo’s servant, is connected to him by a rope around his neck. Played by Tom Eden, who rose to fame in One Man, Two Guvnors and who I last saw in Crazy for You, his clowning and physicality are outstanding. Lucky’s long, nonsensical speech—a notorious moment in the play—is delivered superbly and earned Eden a well-deserved round of applause.

Jonathan Slinger plays Pozzo, capturing the authority and arrogance of the upper classes in Act 1. In Act 2, when Pozzo is blind and his dynamic with Lucky shifts, Slinger elicits unexpected sympathy, showing the character’s vulnerability.

This truly is a wonderful version of a difficult play. Written by Samuel Beckett after World War II, the piece reflects his experiences of the Holocaust, working with the French resistance, and being pursued by the Nazis. These profound influences are channelled into what has become a timeless classic.

This production features excellent performances across the board. If you surrender to its poetry and rhythm, you will find it richly rewarding.

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