Review: Waiting for Godot

by Mike Matthaiakis

James Macdonald’s revival of Waiting for Godot captures both the profound absurdity and dark humor of Samuel Beckett’s masterpiece, drawing the audience into a desolate landscape where two hapless characters wait, endlessly and perhaps in vain. Ben Whishaw’s Vladimir and Lucian Msamati’s Estragon bring an intense and captivating energy to this existential waiting game, exploring the fragile yet resilient nature of human relationships in the face of life’s bleak meaninglessness.

Macdonald’s direction shines in how he harnesses the tragicomic chemistry between Whishaw and Msamati, making the audience feel every flicker of optimism, desperation, and camaraderie. Whishaw’s take on Vladimir is infused with a strangely hopeful energy, even as his character contemplates the emptiness surrounding them. Msamati’s Estragon provides a gruffer, grounded counterbalance, and their interactions have a music hall rhythm that dances between slapstick and tragedy. The contrast between Vladimir’s yearning and Estragon’s pragmatism helps anchor the production in humanity, lending Beckett’s famously surreal text a touch of tenderness amid the chaos.

The supporting cast delivers standout performances, with Jonathan Slinger as the flamboyant, grandiose Pozzo and Tom Edden as the deeply subjugated Lucky. Slinger’s flamboyant Pozzo flaunts a collection of seemingly privileged traits – dressed in aristocratic tweeds, with a whip and a mink stole – yet he is an unexpectedly fragile character. In contrast, Edden as Lucky is unsettling, committing fully to his role with eerie, almost ghostly precision. When Pozzo loses his sight, we witness a dramatic shift, as he becomes increasingly reliant on the now mute and shell-shocked Lucky, creating an unsettling power dynamic that questions the randomness and cruelty of life.

Rae Smith’s set design perfectly encapsulates Beckett’s vision, portraying a barren, war-torn landscape where the lone tree and bleak scenery seem to mirror the disillusionment of the postwar era. The set’s plastered, artificial look blurs the lines between reality and theater, pushing the audience into the same surreal limbo where Vladimir and Estragon find themselves. There’s even a hint of post-apocalyptic survival in their worn attire, a nod to human resilience in the face of unimaginable hardship.

One of the play’s great strengths is its way of blending intellectual depth with simplicity, and Macdonald masterfully walks this line, crafting a production that is equally rich in philosophical introspection and moments of disarming humor. This Godot is as relevant as ever, reflecting our world with its blend of bleakness, absurdity, and moments of unlikely camaraderie. The production underscores Beckett’s insight into human frailty, making this West End staging of Waiting for Godot a masterful interpretation, both haunting and deeply resonant for today’s audiences.

Until December 21 –  Theatre Royal Haymarket