James Karas
Godot has waited for some forty years for a production by the National
Theatre of Northern Greece. The last time the company staged Samuel Beckett’s
masterpiece was in 1977 which followed their first performance of the play in
1965. Three productions in over fifty years do not bespeak a popular piece but
one is always grateful.
Yannis Anastasakis directs the current production at the Vassiliko
Theatre in Thessaloniki on a set designed by Kenny MacLennan. The aggressive
lighting is designed by Vasilis Papakonstantinou and movement is by Dimitris
Sotiriou.
Giorgos Kafkas as Vladimir and Konstantinos Hatzisavas as Estragon are
relatively young tramps who look like they can take care of themselves. They
turn in fine performances. Kafkas has a clipped way of speaking that he did not
control at times and spoke more quickly than I thought appropriate for a tramp
who has very little to do but wait.
Hatzisavas, a slender young man, did a fine job as the frequently beaten
up Estragon. His ambition seems to be to hang himself and put an end to his
life but it is not easy to find the means. Panagiotis Papaioannou gave us a
brutal, stentorian and a freaky Pozzo. He went from the nasty martinet to the
begging, blind Pozzo and was quite exceptional.
The role of the pathetic Lucky was adroitly played by Thanasis
Raftopoulos. The role has to be carefully choreographed for the physical abuse
meted out on Lucky and the job was done superbly.
Foulis Boudouroglou was simply miscast as the Boy. The adult actor tried
bravely to convince us that he is just a boy but despite his change of vocal
intonations and bodily movements to convey that he is a youngster, I felt that
he was a miscast adult for the role.
MacLennan’s set features a white platform that extends from the back of
the stage on to the fifth row of seats in the orchestra. The platform goes up vertically
at the back of the stage and curves forward towards the audience. Much of the
action takes place on the platform. The issue I have with the platform is that
it looks like a road connecting the audience to the stage and beyond. As such
the road gives a focus to the action and may be seen as a way out for Vladimir
and Estragon. Can they just follow the road? My take on the play is that the tramps
live in the middle of nowhere where the only visible thing is a dead tree. Strangers
abuse and beat up Estragon and Pozzo enters but I don’t think there is such a
defining feature as a road. They always find something to give them the
impression that they exist, they tell us, and I suggest that a road is concrete
evidence of something that does not belong in the play.
Waiting for Godot
provides considerable scope for humour and some directors take full advantage
of it. Black humour in a play of the absurd can be quite intriguing.
Anastasakis has opted for a straight reading of the play with only a few
giggles from the audience and a full laugh when the word critic is mentioned.
When Pozzo is about to enter, the audience is struck with blinding
headlights. He is not driving a vehicle and has only Lucky on a rope. I could
not figure out Papakonstantinou’s use of the headlights unless they are meant
to be connected with the road suggested by the platform.
Manos Milonakis provided some eerie music.
Anastasakis’s direction and conception of the play is quite intriguing
and fascinating regardless if you agree with some of his choices. Waiting
for Godot is a rich and endlessly fascinating and confusing play. This
production is decidedly worth seeing.
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Waiting for Godot
by Samuel Beckett opened on February 3, 2018 and continues at the Vassiliko
Theatre, White Tower Square, Thessaloniki, Greece. www.ntng.gr
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