STC's Endgame

Samuel Beckett is revered as an absurdist avant-garde writer and playwright whose works frequently break with the conventions of the time and forge new paths through the literary landscape. Perhaps most well-known for Waiting for Godot, his work offers a dismally bleak and darkly tragicomic outlook on life, but try as we might now to bring a freshness to these sixty-year-old plays, it feels like Beckett’s original relevance is now wearing thin and that these works are starting to show their age.

Premiered in 1957, Endgame famously stars Hamm (a man who is blind and cannot stand), his servant Clov (who is unable to sit), and his parents Nell and Nagg (who are both legless, and live in garbage bins). Bound as each of them are to their positions on stage, the play has a certain staticness to it, a caged-in-ness to it, whereby nobody can move, no one can leave, and the only way out is death. It is undeniably nihilistic in its view of the world, and it makes for gruelling viewing.

Sound and Fury: STC's Macbeth

You don’t need an introduction to Macbeth, the play or the character. It is studied (almost to death) at school, he is cited as one of tragedy’s key tyrants, and the play’s unspooling trajectory is more of a bee-line into a waking nightmare than any kind of vague saunter downwards towards hell. Played out against the vast backdrop of the (now-empty) Sydney Theatre, Kip Williams’ production emphasises the poetry and creates many arresting images in the moody darkness. And in many ways, it is one of the most human Macbeth’s I’ve seen, both in performance and in impact.

Waiting for the man: STC’s Waiting for Godot

First performed in Paris in 1953, Samuel Beckett’s Waiting for Godot is one of those cultural phenomena that can be endlessly referenced, adapted and mimicked by just about anybody and yet none of its original power or intent is lost. Essentially the story of two displaced people, tramps we could suppose, it is, famously, a play where ‘nothing’ happens, twice over. Initially opening to hostile reviews in London in 1955, Beckett’s play went on to break the mould of the “star-actor’s theatre,” and pushed the boundaries of what could be achieved in playwriting and in theatre, both linguistically, performatively, in a script, as well as “the expectation of success from stardom.”

The story of Vladimir and Estragon, Waiting for Godot is a perhaps a kind of Groundhog Day for these two tramps, an endless succession of phrases and ideas, actions, beats and moments, that never really seem to mean anything at all. And yet amongst this nothingness, there is a kind of warmth, a kind of shared humanity between us and Vladimir and Estragon, the hapless Lucky and the rotund Pozzo, the messenger boy. Presented here by Sydney Theatre Company, and directed by Andrew Upton (after Tamás Ascher was rendered unfit to travel), this Godot is a treat to behold.