Directed by Peter Green with Chrissie Lester and much appreciated help of John Covey
1-2nd February,2014, Felpham Village Hall
NODA ACCOLADE OF EXCELLENCE AWARD FOR 2014
“I thought ‘Godot’ was excellent. Very good performances from all and very well staged and lit. Bravo!”
“As a long-time lover of all things Beckett, may I congratulate you (and all concerned) on your performance in Waiting for Godot, which I saw at Felpham Village Hall. Over the years I have seen over a dozen productions of the play, and this was by far the one I enjoyed the most
Godot has no significant plot or character development but focuses on two gentleman of the road – Vladimir (Didi) and Estragon (Gogo) who have been together for fifty years and have nothing to do in life but wait for a Mr Godot.
The thing that particularly attracts me to the play is the exploration of what happens in life when you strip away all the distractions that normally preoccupy us, where the characters have nothing but the tatty clothes they live in and the odd carrot or turnip to live on.
In this bare existence they have just one goal and that is to get through the day and they do this waiting for the mysterious Godot and filling the time with conversation and banter. Is Godot God? There are references to being saved if Godot turns up. Are Gogo and Didi in limbo whilst waiting to be saved? Becket told Sir Ralph Richardson ‘if by Godot I had meant God I would have said God and not Godot’. So Godot is not God – but who?
The passage of time is a crucial part of the play – when you have nothing to do then the elements of the day provided by nature itself – daybreak, daytime, twilight, evening, night-time provide a ‘repertory’ of performances for those who have time on their hands to observe the changes through the day.
The play is a classic of twentieth century literature. Harold Hobbs commented on the 1955 production ‘Go and see Waiting for Godot. At worst you will discover a curiosity, a four-leaved clover, a black tulip; at best, something that will securely lodge in a corner of your mind for as long as you live’.
To be staged at the Chichester Festival, 12-13th July 2014 at 7:30pm at the Jubilee Hall, New Park Centre Chichester.
Peter Green (Vladimir)
|Production Manager||Elaine Green|
|Stage Manager||Chris Armstead|
|Technical Manager||Alex Marner|
Waiting for Godot – Cindy Curtis
Samuel Becket’s famously ‘difficult’ play Waiting for Godot seemed an ambitious choice but The Regis Players more than rose to the challenge, and produced a performance worthy of a wider and larger audience than could be accommodated in the Felpham Memorial Hall. The play centres on two main characters, the vagabonds Estragon (Gogo) & Vladimir (Didi) who are awaiting the arrival of the mysterious Godot – who of course, never comes. The stage is set in a barren landscape, with only a poor twig of a tree and a box to sit on. The two companions have nothing to do and nowhere to go, and pass the time in low key argument, remarks about their poor health and in contemplating suicide, until they are joined by Pozzo pulling his slave Lucky on a leash. Richard Greenhorn gives a controlled and measured performance of the sadistic, controlling Pozzo, and David Rosser, as Lucky, is a picture of misery and hopelessness. Depressing this may seem, and Pozzo’s treatment of Lucky does nothing to lighten the mood, until Lucky is made to speak which he does with a strength and energy unimaginable in the lifeless creature he had appeared to be. The play may be concerned with the futility of life, with misery and endless pointless waiting, but Peter Green (Didi) and Bernard Taylor (Gogo) know how to make an audience laugh – with an unexpected small gesture, a facial expression or a tone of voice – and laugh we did.
It is always a challenge for the audience when there are so few characters in a play and so little action, but the increased pace of this production, coupled with the exquisitely comic performances by Bernard Taylor and Peter Green holds the attention of the audience. Also worthy of mention is Erin Green who gives a delightful and convincing performance as the boy sent to say Godot will not be coming.
The Regis Players
Waiting for Godot
Reviewed by: Jose Harrison
Venue: Felpham Village Hall
Type of Production: Play
Director: Peter Green with Chrissie Lester and John Covey
Once again this society presented a very demanding piece of theatre which is rarely performed as it requires some expert acting to make it acceptable for the average viewer. Samuel Beckett’s ‘Waiting for Godot’ is the story of two tramps who have been together for fifty years and have nothing else to do but wait around. Over two days they encounter two other travellers and a boy messenger. There is no plot or real reason to make this a play other than the opportunity for some incredible acting and demanding direction. I often say that a set is simple but this one was even more simple than usual. When the curtain opened the stage was bare except for an eight to ten foot high tree, without any leaves, planted in the stage with a sky line behind and a rock beside it which doubled as a seat. The lighting completed a magical set, portraying time passing, finishing with a wonderful moon. Act two was the same but supposedly next day but with real branches of leaves on the tree.
Peter Green played Vladimir (Didi) and his performance as the more controlling of the two tramps was superb with great body language, facial expressions and use of pauses. His costume was cleverly put together, make-up great and general demeanour through-out ideal for the part. Bernard Taylor as Estragon (Gogo) provided the audience some light relief and amusement regarding a bit of a problem over his boots which were making him rather lame being the wrong size. His performance was equally outstanding in every respect. These two characters were on the stage for very nearly the entire evening with pages of the most difficult dialogue which was going round in circles and never really getting anywhere.
Later in Act 1 and again later in Act 2 the other pair of travellers entered the scene. Richard Greenhorn played Pozzo with all the expertise one would expect from someone who has spent his life both on and off the professional and amateur stage. His credits read like a ‘who’s who’ of the theatre world and it showed in every respect of his performance. He was accompanied by David Rosser (Lucky) who gave them all expert support in his comparatively silent role apart from vast amounts of gibberish in act one. Young Erin Green carried out her part as The Messenger with great maturity and clarity.
My overall view of this play is that it is something to be watched by all theatre lovers but only if the performers are experts and these certainly were just that.
National Operatic and Dramatic Association
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