‘Waiting for Godot’ worth waiting for

Press, Volume CXI, Issue 32635, 17 June 1971, Page 12

‘Waiting for Godot’ worth waiting for

"Waiting for Godot,” by Samuel Beckett Produced by David Dowling. University of Canterbury Drama Society. Ngalo Marsh Theatre. June 16 to 27. Running time 8.00 to 11.05. One could not help but feel a degree of apprehension at Mr Dowling’s prospects of producing such a notoriously difficult author with a relatively inexperienced cast; certainly, though, it was a courageous and altruistic act since he must have known from the start that some weaknesses would be inevitable in the final product. It is thus pleasing to find that the result is enjoyable theatre which offers an encouraging prospect for university drama, presenting as it does several actors who, though obviously not yet fully developed, show a sound grasp of fundamental acting skills. The main strength of the small cast undoubtedly lies in the central duo of Philip Holder and John Purvis as Vladimir and Estragon. The production was clearly adjusted to take full advantage of the element of low comedy, and make-up, business, and movement style were all sensibly exploited for this, without any one gimmick being seriously over-worked.

Mr Holder spoke with well-regulated flatness and showed a good sense of the possibilities of facial manipulation; his singing was also finely controlled to give a good balance between the pathetic and the ridiculous. John Purvis’s performance was less even, and one felt that x his persistent whine sometimes intruded into lines that would be better left flatter. He did, though, draw some well-deserved laughs from the small audience, and his combina-

tion with Vladimir was always good. Lucky is a very important role, though, of course, with limited possibilities; in spite of this, it was impressive to see the intensity of mood that the producer and actor (Keith Nicolson) extracted from his dance, an awesome, nauseous interpretation of "the net” theme. His makeup was in itself revolting, and the liberal quantities of red around his neck and chest consolidated the hideously barberous implications of his role. His speech also had plenty of impact, and he moved round the auditorium while delivering it, but one would have liked it to have been more audible from the start.

Pozzo is a difficult character for a young actor, and Chris Mills was clearly not cast to his abilities. This unfortunately led to several limp passages and left a gap in the total balance of impact; in spite of this, he did at times achieve a degree of the presence he needed. —H. D. McN.