The Cheltenham Everyman’s 2019 agenda sees them delving into the classics of 20th century theatre. The first piece in this vein is the in-house production of Waiting for Godot, which brings Tweedy – pantomime favourite and celebrated clown of Gifford’s Circus and Cirque Berserk – to the stage in a dramatic role for only the second time.
Within the continuum of Godot productions, director Paul Milton’s take is certainly a traditional one. The air of this staging is not so much deference though, more an attitude of if-it-ain’t-broke-don’t-fix-it. The set and set-up go fairly unaltered from their textual outline: the tramps, the tree, the traveller and his slave. The lack of embellishment or radical overhaul of the material means that the audience can engage with the meaty philosophical quandaries and wry humour unimpeded.
In terms of humour, the play is on robust form with the leads Jeremy Stockwell and Tweedy, playing Vladimir and Estragon respectively. Tweedy’s clowning abilities make welcome appearances throughout the play, but the physical performance is never a substitute for or distraction from Tweedy’s take on Beckett. In fact of the two, it’s Stockwell whose jokes lean on the fourth wall more than Tweedy’s. There would be a temptation to label Stockwell’s Didi as the straight-man to Tweedy’s clowning Gogo – and indeed the latter does try to make the other corpse when he can – but they are both thoroughly adept at drawing the humour out of Beckett’s absurdist despair.
Of course, alongside the tramps we have Pozzo and Lucky played by Mark Roper and Murray Andrews. Both give firm characterful performances that match the promise of chaos which their appearances anticipate. I’ve seen a few productions of Godot and this is easily one of the more threatening renditions of Lucky I have seen staged – one feels sympathy for Gogo’s shins and could well believe the director would be inclined to have Lucky throw in some extra kicks as well.
The Everyman’s Waiting for Godot is an assured and engaging take on the classic play. This staging is suitable for those long familiar with Godot, who will find it a worthy and appreciative rendition of the work, and those coming to it anew who will grasp what the fuss is about. I heartily recommend. ★★★★☆ Fenton Coulthurst 12th February 2019
