Monday, 26 March 2012

Ends and Odds

Reviewing the Mark Taper Forum Godot for the LA Times, Charles McNulty writes:

"On a circular set by John Iacovelli bordered by rocks and landmarked by a woebegone tree, the characters occupy a purely theatrical space that is at once dreamlike and concretely real. Beckett cautioned against overly aestheticizing the design, not wanting “Godot” to come off as painted allegory. In a letter to the art historian Georges Duthuit, the playwright explained that he was seeking a “sordidly abstract” form of nature, “a place of suffering, sweaty and fishy, where sometimes a turnip grows, or a ditch opens up.” Arabian’s staging fulfills this mission, becoming picturesque only at the end of each of the two acts, when a boy messenger (LJ Benet) conveys Godot’s regrets, and by that point the audience can use a bit of moonlit lyricism."
You can read the rest of the review here.