Most theater folk can recall the time they were introduced to “Waiting for Godot,” the absurdist classic by Irish playwright Samuel Beckett. I remember one of my first interactions with the play in my late teens — I pronounced Godot wrong in a passing conversation and was shamed by my peers. Though categorized as tragi-comic, the play is often deemed serious theater, associated with highbrow academics and hyper-intellectuals. You either get it or you don’t, right?
This iteration, starring Rainn Wilson and Aasif Mandvi, proves that this notion couldn’t be more wrong. And that’s a good thing.
The play follows two men in an undefined close relationship, Estragon (Mandvi) and Vladimir (Wilson), through two acts of circular, pointless conversation in which truly nothing happens. The men are waiting for Godot, an ambiguous being whose existence serves no clear purpose for the duo but drives them to wait nonetheless. Spoiler — Godot isn’t coming.
Critics, scholars and academics have spent decades debating greater meanings and layering interpretations into a play that lacks traditional action. However, led by Wilson, a mainstream star known for his award-winning comedic portrayal of Dwight Schrute in “The Office,” and Mandvi, a former correspondent for “The Daily Show” now widely recognized for his role in the CBS/Paramount+ series “Evil,” the Geffen’s production likely draws fans who may not have ever heard of Beckett or Theatre of the Absurd.
Under the direction of Judy Hegarty Lovett, the play takes a form that begs audiences to remain present. This production doesn’t reinvent or create meaning, and instead stays true to Beckett’s intentions as a playwright. Hegarty Lovett, co-founder of Gare St. Lazare Ireland, has directed over 20 Beckett plays and is deemed a leader in producing his works. In an interview with Geffen Playhouse staff and dramaturg Olivia O’Connor, she reminds audiences that Beckett can be for everyone.
“‘Waiting for Godot’ is a truly accessible play,” Hegarty Lovett said. “Somehow and somewhere along the way it was believed to be a play for intellectuals, and that’s a great pity, because it’s a play written for everybody.”
Surrounded by a full house of audience members from seemingly varying backgrounds, I felt this statement to be resoundingly true. The space roared with laughter, gasps and shudders at all the appropriate moments — the audience entirely engaged watching a masterclass in acting.
Wilson, a heightened comedy icon, gives a performance that is, pleasantly, far more subtle than what was to be expected. His Vladimir (also known as Didi) is thoughtful and commanding of Beckett’s prose. Paired with Mandvi, who brings remarkable energy and depth to his Estragon (AKA Gogo), this production is driven by a perfect example of the dynamic duo. At first glance, the two men are quite alike, donning similar neutral rags and speaking with at times interchangeable language. Yet with closer attention, it is clear how different the two men are. Even in moments of stillness, their neutral masks are strikingly unique: Mandvi’s brows are raised in wide-eyed alarm and his mouth sits agape, while Wilson’s brow is furrowed and his jaw tense.
These actors are, without a doubt, deeply attuned to their characters and riveted in the present. Their physical actions are organic when Beckett’s dialogue is inorganic; they breathe human life into each nonsensical moment. This, in turn, prevents a common misconception when viewing Beckett’s work — a false notion that, at every moment, the audience must be searching for a deeper meaning. In actuality, it is advantageous to simply sit back and take each action at face value.
One of the most notable actions of both act one and two is Gogo and Didi’s prolonged exchange with a tragically symbiotic pair of characters named Pozzo (Conor Lovett) and Lucky (Adam Stein), who break and accentuate the stagnancy of the play. Lucky, who spends most of his time onstage standing silently with a rope tied around his neck, is Pozzo’s slave. Stein’s portrayal of Lucky is particularly exceptional, marked by his vigorous delivery of the infamous nonsense monologue. Lovett, who co-founded Gare St. Lazare Ireland with his wife and creative partner, delivered a Pozzo that was perfectly unsettling — at one point, we locked eyes from my seat in the front row, and I felt the overwhelming urge to escape the wrath of his dominating presence.
These consistently strong performances, including that of Lincoln Bonilla as the Boy, are only emphasized by the incredible design work. Kaye Voyce’s scenic design is understated, as Beckett intended, yet notable. A glass tree suggests a subtle level of modernity and the single set change, taking place during intermission, is simple yet powerful. In tandem with sound composer Mel Mercier’s dissonant droning throughout the piece, audiences are transported into a liminal, post-apocalyptic world. Simon Bennison’s lighting design creates shadows that echo each actor’s every movement. Admittedly, when watching a play as long and listless as “Waiting for Godot,” the viewer’s eye and ear may tend to wander to the often less-recognized creative contributions.
This production of “Godot” is an entry-level Beckett experience, with pro-level execution. Beckett’s work will likely always be regarded as essential to the theater canon, but this doesn’t mean it’s only for those well-versed in absurdist theater. In fact, I encourage any and everyone to see this production with an open mind. The meaning, you’ll find, comes when you do not search for it. Wilson and Mandvi’s performances are relatable — they are parts of us all — and everyone is waiting for something.
At some point during the two and a half hours of meaningless nonsense, Didi exclaims, “How time flies when one has fun!”
I agreed, and for the first time, I think I got it.