Why are we waiting? And for what?

Waiting for Godot
Waiting for Godot
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Samuel Beckett’s best-known creation, if not his best work, is given a competent outing in a London Classic Theatre touring production.

n the 15th year of touring classic theatre performances to the provinces, LCT are to be applauded. Smaller venues around the country would wait a long time for Godot, and a lot more besides, were it not for their diligence.

There’s a lot of craft put into this production, not least with Bel Palmer’s stage design stretching a few points with the standard scenery.

A floor area dotted with stepping stones gives the characters a more deliberate movement about the stage. The way in which Sonja Zobel, as the Boy, skips across them is actually a delightful counterpoint to the grumpy old tramps at the centre of the play.

In act one, Peter Cadden sets off at speed as Vladimir, when a little less urgency might let the audience tune into the poetry and rhythm of Beckett’s words.

Richard Heap is a suitably bombastic Estragon to Vladimir’s more emollient role. Jonathan Ashley makes a raging Pozzo and Michael Keane is his crazed slave.

Never was anyone worse named than this Lucky.

The shorter second act is less rushed and ultimately triumphs in that it evokes genuine sympathy for the duo’s plight... Whatever it is that ails them!

The joy of Godot will always be that you can colour it in with any personal philosophy, or just enjoy it as abstract art.

David Upton