Waiting for Waiting for Godot
Reviewed by Lara J. Altunian
Sacred Fools Theater Company
Extended through December 21
What could be more absurd than parodying an absurdist play? Dave Hanson’s Waiting for Waiting for Godot pays homage to Samuel Beckett by exploring the underlying themes in his famous tragicomedy about two men perpetually anticipating an event that never comes to pass. Full of stellar physical humor, entertaining wisecracking riffs, and philosophical discussions, the production is a string of wonderful ideas that would have better served the play had the concepts resonated a bit more consistently throughout the course of the evening.
Ester (Bruno Oliver) and Val (Joe Hernandez-Kolski) are the understudies for Estragon and Vladimir in Waiting for Godot. As they stand by backstage for instructions as to whether or not they will go on, they (not unlike the characters they’re named after) begin discussing their situation: Is tonight their night? What’s wrong with their costumes? Should they even keep acting? Unlike Beckett’s work however, these questions are punctuated with strong bouts of physical comedy that sees the two leads performing an impromptu song-and-dance number, amateur acting exercises, and a variety of different schticks that carry on throughout the play.
Physicality is where the play shines. Despite the original Godot having been written in the late ’40s, the characters’ bowler hats (props designed by Joyce Hutter) suggest an earlier Charlie Chaplin–like look to their appearance, setting the stage for slapstick from the very beginning. Steady overall direction (Jacob Sidney), particularly in fighting (Edgar Landa), ensure that every bit of the scenic design (Aaron Francis) is put to good use, without the purposely crowded–looking space ever dwarfing the performers.
Ester and Val’s antics, which include flips, using a hatstand to try to open a sugar packet, and wrestling with a vest both attempt to wear at the same time, are clear tributes to Laurel and Hardy–type silliness. The actors even bear a corporal resemblance to the two comedians, and in part match their personalities to them as well. Hernandez-Kolski is spot-on as the wide-eyed innocent, with solid moments of clarity and wisdom that pepper an otherwise clueless fog of gullibility. Oliver fully embodies the know-it-all doofus whose rationale stirs straight into insanity. Julie Marchiano who plays Laura — an assistant stage manager with whom the duo have a few key interactions — is the ultimate foil. Her presence brings a necessary balance to the show at its zaniest.
Ester’s haughty attitude occasionally drags the production down into repetitive lulls that unfortunately make the viewer feel all 90 minutes of the play. Although each of the skits echo Ester and Val’s shifting self esteem, some work better than others. Exceptionally powerful are their dialogue and speeches about the acting profession, which have the ability to strike a chord with most of the theater community.
Throughout the viewer is left asking themselves if the understudies’ dreams will actually come to fruition. Although anyone familiar with the original Godot can guess the ending, Hanson’s work still leaves one wondering what madness may come next, especially as the plot twists and turns toward the very end. A little tightening and fine tuning would make this play absolutely exceptional.
The Broadwater Second Stage, 6320 Santa Monica Blvd., Hollywood; Mon., Thurs.-Sat., 8 p.m.; Sun., Dec. 8 & 15, 5 p.m.; extended through Dec. 21. (323) 207-5605 or https://tickets.sacredfools.org/. Running time: 90 minutes with no intermission.
