“These are not two random molecules brought together by circumstance, but bound together. The fundamental quality of the production is the affection that Vladimir and Estragon have for each other, she says. “For me, its core is about companionship - two guys (Vladimir and Estragon), who are kind of shiftless, making everyone laugh, bickering and finding ways to fill time.” “It’s interesting how the play is very concrete and yet, within all this, you have this play about everybody and what are they waiting for,” Spillane-Hinks says. Much time has been consumed while academics, theater critics and post-show discussion groups have pondered questions it raises - big ones such as “What does it mean?” or “Is Godot God?” and smaller ones such as “Why do they keep waiting?” and “Couldn’t they have chosen a more comfortable meeting place?” Irish theater critic Vivien Mercier described its actions as “a play in which nothing happens twice.” The setting is sparse and bleak - an isolated crossroads with a leafless tree and a rock. That’s not to say that Beckett’s drama doesn’t offer much to examine and interpret. If that’s not the essence of the play, I don’t know what is,” she says. Spillane-Hinks first saw “Waiting for Godot” when she was 3. “When you see it, you see these people doing pratfalls, fart jokes in front of you, not some kind of ponderous treatise of life.” “We think we are going in for a philosophy lecture when we are actually going in for a vaudeville show with really good writing,” Spillane-Hinks says. In 1999, a British Royal National Theatre poll of 800 playwrights, actors, directors and journalists named it the most significant English-language play of the 20th century.īeckett and his play are credited with influencing 20th-century playwrights such as Edward Albee, Harold Pinter, Tom Stoppard and David Mamet and with revolutionizing contemporary drama. Its reputation is proclaimed with ponderous gravity. Some are descriptive but intimidating - avant garde and absurdist, to name but two. In the 60-plus years since “Godot” was first performed, the play about two tramps waiting near a barren tree for someone who never shows up has been almost completely obscured by the labels attached to it.
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