2009 Season
Waiting for Godot
By Samuel Beckett Directed Lawrance Bernabo Waiting for Godot is an absurdist play by Samuel Beckett, in which two characters, Vladimir and Estragon, wait endlessly and in vain for someone named Godot to arrive. Godot's absence, as well as numerous other aspects of the play, have led to many different interpretations and references since its premiere, such as religious, phiosophical, classical, psychoanalytical, biographical, and wartime references. Starring Lawrance Bernabo, Ric Stevens, Taylor Martin-Romme, and Ben Cohen. |
Review of Waiting for Godot
(Duluth News Tribune)
Theater review: Reviewer gets actors' nod for directing Waiting for Godot
By: Christa Lawler, for the Duluth News Tribune
Rubber Chicken Theater's production of Waiting for Godot, which opened at the Duluth Play Ground on Thursday, was directed by Lawrance Bernabo - who ordinarily is the voice behind these theater reviews.
The News Tribune gave a handful of theater people a chance to review the reviewer.
The Samuel Beckett play, a two-act tragicomedy, largely follows tramps Estragon (played by Bernabo) and Vladimir (Ric Stevens) as they wait between a rock and a tree for a man named Godot. Their days are filled with absurdist chatter, and the small amusements they glean come in days that are otherwise spent in exactly the same way.
Here are critiques from the theater circles, and people who have (and have not) been on the sharp end of Bernabo's pen.
Carly Feroe, theater aficionado, said:
"Waiting for Godot is a play about how humankind creates excuses in ourselves, as well as others, for our own existence. In the play, Ric Steven's authoritative Vladimir serves as the perfect foil for Lawrance Bernabo's emotional and often child-like Estragon. The appearance of Pozzo (Taylor Martin-Romme) and his slave Lucky (Benjamin David Cohen) also provides philosophical questions pertaining to our perception of what is important, versus what actually is."
Beverly Godfrey, a News Tribune copy editor who was in a play that Bernabo reviewed. He did not mention her once. She said:
"Bernabo spends a moment hiding behind a tree in his part as Estragon, but it is the only moment he gets to hide at all in this emotional performance. The sparse stage and weird script give the actors no break, so moments of lost concentration or blubbed lines would be painfully magnified.
"It was the lack of such flaws that most impressed me. Bernabo was committed to his character, intense in his emotion, comical and sad. He gave great thought to his physical movements. When he looks offstage, you believe he is looking at something.
"With so many lines and so few actors, it would be easy to sound as if you're reciting. But Bernabo was obviously well-prepared and had a clear understanding of the play. Comedians, actors and philosophers - and that part in each one of us that is each of those things - will appreciate the show."
Kelli Latuska, actor, said:
"After a rocky first act, the actors found a steady pace to drive their audience deep into the self-questioning (and God-questioning) existence the characters dwell in themselves. Director Bernabo chose well to flavor an otherwise horrifically depressing script with a bit of vaudevillian performance."
Lawrance Lee, actor, said:
"The production does a great job playing with memory and, while it seems absurd, reminds us of how quickly we forget and how desperately we want to be distracted and amused. Cohen, in particular, as Lucky, should be singled out for praise. His kinetic portrayal of a character with only one line - albeit one very long line - excites, energizes and thoroughly disgusts the audience.
"Bernabo and Stevens turn in riveting performances with what seems to be nonsense lines backed with real emotion and character.
"Martin-Romme as Pozzo is delightfully arrogant."
(Duluth News Tribune)
Theater review: Reviewer gets actors' nod for directing Waiting for Godot
By: Christa Lawler, for the Duluth News Tribune
Rubber Chicken Theater's production of Waiting for Godot, which opened at the Duluth Play Ground on Thursday, was directed by Lawrance Bernabo - who ordinarily is the voice behind these theater reviews.
The News Tribune gave a handful of theater people a chance to review the reviewer.
The Samuel Beckett play, a two-act tragicomedy, largely follows tramps Estragon (played by Bernabo) and Vladimir (Ric Stevens) as they wait between a rock and a tree for a man named Godot. Their days are filled with absurdist chatter, and the small amusements they glean come in days that are otherwise spent in exactly the same way.
Here are critiques from the theater circles, and people who have (and have not) been on the sharp end of Bernabo's pen.
Carly Feroe, theater aficionado, said:
"Waiting for Godot is a play about how humankind creates excuses in ourselves, as well as others, for our own existence. In the play, Ric Steven's authoritative Vladimir serves as the perfect foil for Lawrance Bernabo's emotional and often child-like Estragon. The appearance of Pozzo (Taylor Martin-Romme) and his slave Lucky (Benjamin David Cohen) also provides philosophical questions pertaining to our perception of what is important, versus what actually is."
Beverly Godfrey, a News Tribune copy editor who was in a play that Bernabo reviewed. He did not mention her once. She said:
"Bernabo spends a moment hiding behind a tree in his part as Estragon, but it is the only moment he gets to hide at all in this emotional performance. The sparse stage and weird script give the actors no break, so moments of lost concentration or blubbed lines would be painfully magnified.
"It was the lack of such flaws that most impressed me. Bernabo was committed to his character, intense in his emotion, comical and sad. He gave great thought to his physical movements. When he looks offstage, you believe he is looking at something.
"With so many lines and so few actors, it would be easy to sound as if you're reciting. But Bernabo was obviously well-prepared and had a clear understanding of the play. Comedians, actors and philosophers - and that part in each one of us that is each of those things - will appreciate the show."
Kelli Latuska, actor, said:
"After a rocky first act, the actors found a steady pace to drive their audience deep into the self-questioning (and God-questioning) existence the characters dwell in themselves. Director Bernabo chose well to flavor an otherwise horrifically depressing script with a bit of vaudevillian performance."
Lawrance Lee, actor, said:
"The production does a great job playing with memory and, while it seems absurd, reminds us of how quickly we forget and how desperately we want to be distracted and amused. Cohen, in particular, as Lucky, should be singled out for praise. His kinetic portrayal of a character with only one line - albeit one very long line - excites, energizes and thoroughly disgusts the audience.
"Bernabo and Stevens turn in riveting performances with what seems to be nonsense lines backed with real emotion and character.
"Martin-Romme as Pozzo is delightfully arrogant."
Review of Waiting for Godot
(Oeuvre Arts Magazine)
Theater review: You should also be Waiting for Godot at The Play Ground
By: Dennis Kempton, for the Oeuvre Arts Magazine
Waiting for Godot is dense material for most, in spite of the protestations of some who claim that it is a play about nothing in particular. Even the playwright himself, Samuel Beckett, discourages delving deep into the existential possibilities that lurk between the lines.
On a deserted road, in the middle of nowhere in particular, with only a tree and a rock as companions, two seeming hobos wait for the mysterious Godot. Not once, but twice. And maybe not even just twice. One is led to believe from the script of the play that this scenario might have been played out time and again. And what a script it is.
Written by Samuel Beckett, the play has been called one of the greatest of the twentieth century as well as being termed the quintessential illustration of the Theatre of the Absurd movement. That seemed, to this reviewer, quite an ambitious chunk of theatre to bite off for Rubber Chicken Theater, the producing stage company that put this show up at the Play Ground. Another big bite is the fact that the director of the show, Lawrance Bernabo, cast himself in one of the two leading roles, playing Estragon aka Gogo alongside Rubber Chicken and Duluth Playhouse alum Ric Stevens as Vladimir aka Didi.
It's tricky to direct a show in which the director decides to cast him or herself. Not all of us can be as brilliant as Barbra Streisand and pull it off. The stakes are high for the director and for the show. Either it goes exceedingly well or it fails embarrassingly. Without having the ability to ask the cast or having seen the directing and rehearsal process, I would have to say that it worked out well for Bernabo and for the show, in general.
The set is minimal, as it should be. In fact, the minimalist approach was preferred by the playwright. I was relieved to see that Bernabo chose to remain true to the script instead of interpreting the setting as others have done with it: cold war era, post-apocalyptic, and what have you in an attempt to overdress a production that really needs no embellishment.
Bernabo plays Estragon, by all accounts a complainer, sometimes shrill, often whiney. He is emotionally shackled to his friend, Vladimir, as they wait for Godot, a man both of them claim to know, but admit they wouldn't recognize if he appeared in their midst. You can insert your religious interpretations of the play here and you wouldn't be the first to do so. In this play of minimalism and vagaries, it is a stage palette for myriad interpretations. Godot will have answers for them, maybe riches. As much as they desire to leave when Godot fails to appear, they dare not leave. The pair of men try to find ways to pass the time whilst they wait, often resorting to scolding each other, calling each other names, and entreating each other not to leave no matter how many times Gogo insists it would be better if they part. Bernabo shows versatility and skill on stage and it is obvious he is comfortable with his role and knowledgeable about the nuances and rhythms the script requires of its actors. Perhaps it is this skill that made it possible to direct and act all within the same show.
Ric Stevens as Didi is the more resolute of the duo. In character, Didi is considerably more upbeat than his gloomy friend and a "true believer" in Godot's ability to transform their lives for the better...if they just wait. I have only seen Stevens in outsized comedic caricatures and was pleasantly surprised at his ability to perform in this genre and portray this character on stage without any hint of ridiculousness or slap stick mannerism. He is humorous when it is required, philosophical when needed, and morose when his character faces existential doubt. In fact, Stevens' character requires more in terms of character dexterity than does Bernabo's role and Stevens delivers. But, the timing and comedic delivery between the two is sheer vaudevillian coupledom.
Taylor Martin-Romme plays the pompous Pozzo: a psychotically entitled gentleman on his way with his slave, deliciously and cruelly named "Lucky." Having only seen Martin-Romme in sketch comedy, this performance was amusing and, frankly, good. Martin-Romme succeeds at fully realizing the imperious nature of his character, blithely unaware of the obvious horror of having another human being in literal bondage serving his every whim. In fact, in an appallingly incredulous moment, Pozzo claims to be the one in actual bondage to Lucky. One can't help but laugh at the narcissism. Later on, in the second act, Pozzo returns, claiming to have never met the men still waiting for Godot, and this time, blind, in addition to being the comedic relief of the show.
Pozzo's lucky slave, played by Benjamin David Cohen, is, in the first act, the real scene stealer. Salivating, seemingly dumb and unintelligible, he shuffles pitifully along whilst carting around Pozzo's picnic basket, stool, and bag of sand. He is servile without anger even when verbally smacked with being called a pig, a hog, and a dog. Some interpretation-minded connoisseurs of the play opine that Pozzo and Lucky's bond to each other is just another interpretation of Estragon and Vladimir, only writ large. Whatever your feelings on the matter, the spectacle of Pozzo and, especially, Lucky's zombie-like persona are well done and almost riveting to watch on the stage, sort of like a train wreck. Especially impressive is Lucky's tour-de-force nonsensical monologue.
There are a couple things that don't work well with the show. One being that, despite Bernabo's well-executed performance, he's not much of a cripple when his leg is beaten up and he's supposed to be bleeding. He's an overachieving handicapable person in that regard, managing to continue to walk about the stage with little or no infirmity. Let's remember the proverb "God is in the details." Another is that opening night's performance started late and ended late. As the play is a long one, it's nice to start on time so audiences don't get restless.
Whatever your individual interpretations of Beckett's critically acclaimed play, one thing is certain: Waiting for Godot is a unique theatre experience that shouldn't be missed if you're looking to add "aesthete" to your cultural resume. I went in to this show doubtful of the ability of the sketch comedy actors to credibly deliver the performance with care and respect to the audience. I happily take back the assumptions. This production of Waiting for Godot is one of the more capable performances I have encountered. Granted, the genre and the material are not for everyone and it is not the standard fare Duluth is used to seeing on its stages, but it's worth seeing, if only to get the chance to opine, yourself, on what Beckett's tale of nothing in particular means to you, specifically.
(Oeuvre Arts Magazine)
Theater review: You should also be Waiting for Godot at The Play Ground
By: Dennis Kempton, for the Oeuvre Arts Magazine
Waiting for Godot is dense material for most, in spite of the protestations of some who claim that it is a play about nothing in particular. Even the playwright himself, Samuel Beckett, discourages delving deep into the existential possibilities that lurk between the lines.
On a deserted road, in the middle of nowhere in particular, with only a tree and a rock as companions, two seeming hobos wait for the mysterious Godot. Not once, but twice. And maybe not even just twice. One is led to believe from the script of the play that this scenario might have been played out time and again. And what a script it is.
Written by Samuel Beckett, the play has been called one of the greatest of the twentieth century as well as being termed the quintessential illustration of the Theatre of the Absurd movement. That seemed, to this reviewer, quite an ambitious chunk of theatre to bite off for Rubber Chicken Theater, the producing stage company that put this show up at the Play Ground. Another big bite is the fact that the director of the show, Lawrance Bernabo, cast himself in one of the two leading roles, playing Estragon aka Gogo alongside Rubber Chicken and Duluth Playhouse alum Ric Stevens as Vladimir aka Didi.
It's tricky to direct a show in which the director decides to cast him or herself. Not all of us can be as brilliant as Barbra Streisand and pull it off. The stakes are high for the director and for the show. Either it goes exceedingly well or it fails embarrassingly. Without having the ability to ask the cast or having seen the directing and rehearsal process, I would have to say that it worked out well for Bernabo and for the show, in general.
The set is minimal, as it should be. In fact, the minimalist approach was preferred by the playwright. I was relieved to see that Bernabo chose to remain true to the script instead of interpreting the setting as others have done with it: cold war era, post-apocalyptic, and what have you in an attempt to overdress a production that really needs no embellishment.
Bernabo plays Estragon, by all accounts a complainer, sometimes shrill, often whiney. He is emotionally shackled to his friend, Vladimir, as they wait for Godot, a man both of them claim to know, but admit they wouldn't recognize if he appeared in their midst. You can insert your religious interpretations of the play here and you wouldn't be the first to do so. In this play of minimalism and vagaries, it is a stage palette for myriad interpretations. Godot will have answers for them, maybe riches. As much as they desire to leave when Godot fails to appear, they dare not leave. The pair of men try to find ways to pass the time whilst they wait, often resorting to scolding each other, calling each other names, and entreating each other not to leave no matter how many times Gogo insists it would be better if they part. Bernabo shows versatility and skill on stage and it is obvious he is comfortable with his role and knowledgeable about the nuances and rhythms the script requires of its actors. Perhaps it is this skill that made it possible to direct and act all within the same show.
Ric Stevens as Didi is the more resolute of the duo. In character, Didi is considerably more upbeat than his gloomy friend and a "true believer" in Godot's ability to transform their lives for the better...if they just wait. I have only seen Stevens in outsized comedic caricatures and was pleasantly surprised at his ability to perform in this genre and portray this character on stage without any hint of ridiculousness or slap stick mannerism. He is humorous when it is required, philosophical when needed, and morose when his character faces existential doubt. In fact, Stevens' character requires more in terms of character dexterity than does Bernabo's role and Stevens delivers. But, the timing and comedic delivery between the two is sheer vaudevillian coupledom.
Taylor Martin-Romme plays the pompous Pozzo: a psychotically entitled gentleman on his way with his slave, deliciously and cruelly named "Lucky." Having only seen Martin-Romme in sketch comedy, this performance was amusing and, frankly, good. Martin-Romme succeeds at fully realizing the imperious nature of his character, blithely unaware of the obvious horror of having another human being in literal bondage serving his every whim. In fact, in an appallingly incredulous moment, Pozzo claims to be the one in actual bondage to Lucky. One can't help but laugh at the narcissism. Later on, in the second act, Pozzo returns, claiming to have never met the men still waiting for Godot, and this time, blind, in addition to being the comedic relief of the show.
Pozzo's lucky slave, played by Benjamin David Cohen, is, in the first act, the real scene stealer. Salivating, seemingly dumb and unintelligible, he shuffles pitifully along whilst carting around Pozzo's picnic basket, stool, and bag of sand. He is servile without anger even when verbally smacked with being called a pig, a hog, and a dog. Some interpretation-minded connoisseurs of the play opine that Pozzo and Lucky's bond to each other is just another interpretation of Estragon and Vladimir, only writ large. Whatever your feelings on the matter, the spectacle of Pozzo and, especially, Lucky's zombie-like persona are well done and almost riveting to watch on the stage, sort of like a train wreck. Especially impressive is Lucky's tour-de-force nonsensical monologue.
There are a couple things that don't work well with the show. One being that, despite Bernabo's well-executed performance, he's not much of a cripple when his leg is beaten up and he's supposed to be bleeding. He's an overachieving handicapable person in that regard, managing to continue to walk about the stage with little or no infirmity. Let's remember the proverb "God is in the details." Another is that opening night's performance started late and ended late. As the play is a long one, it's nice to start on time so audiences don't get restless.
Whatever your individual interpretations of Beckett's critically acclaimed play, one thing is certain: Waiting for Godot is a unique theatre experience that shouldn't be missed if you're looking to add "aesthete" to your cultural resume. I went in to this show doubtful of the ability of the sketch comedy actors to credibly deliver the performance with care and respect to the audience. I happily take back the assumptions. This production of Waiting for Godot is one of the more capable performances I have encountered. Granted, the genre and the material are not for everyone and it is not the standard fare Duluth is used to seeing on its stages, but it's worth seeing, if only to get the chance to opine, yourself, on what Beckett's tale of nothing in particular means to you, specifically.
