Godot finally arrives

Theatre II does justice to Beckett's interpretive masterpiece

Attempting to answer the meaning of life, the opening night of Samuel Beckett's 1940s-era play at Theatre II was a success and nearly sold out.

The play, directed by junior Mia Wilson, consists of a series of conversations between the five male characters as they search for the purpose of life. There is not a great deal of physical action, but the real action lies within the characters' thought-provoking questions and dialogue.

The majority of the play — set around a lone tree made from chicken wire, trash bags, food wrappers, sticks, bottles and old license plates — is spent waiting for a mysterious man named Godot. It is unclear to the audience, as well as the characters, whether or not Godot actually exists and if he actually will appear.

The play begins with two vagabonds, Vladimir (who is referred to as "Didi"), played by sophomore Dean Camp, and Estragon (or "Gogo"), played by junior Arianne Warner, sitting by a tree and waiting for Godot.

They are so bored waiting that they have to find the means to entertain themselves through banter and telling stories. Gogo even suggests that they hang themselves on the tree. Didi serves as a protector and father figure to Gogo and he often tells Gogo that he could not survive without him, although they are presumed to be the same age.

Later on, the seemingly plotless play progresses when a slave and his master run into Didi and Gogo. Lucky (senior Dan Cullen), the slave, and Pozzo (junior Kristen Long), his master, come along. Pozzo is cruel to Lucky and pulls him around by a rope and dog collar, which has given Lucky a large wound on his neck. Didi and Gogo ask Lucky to amuse them by dancing and he launches into an energetic, stream-of-consciousness-fueled tirade.

A messenger boy, played by freshman Mohcine Dehbi, comes to tell Didi and Gogo that Godot will not show up that day. The pair continues to wait for Godot the following day, and it is unclear if he will, in fact, come.

The perfect blend of drama and comedy makes the play intriguing, despite its considerable inactivity, fixed lighting and lack of musical score. Camp flawlessly transformed into Gogo. His use of facial expressions — such as the clenched jaw he sported — embodied a vagabond more than any of the other actors' portrayals. Warner's well-timed delivery of witty dialogue as the churlish Didi illicited laughter from the audience on many occassions.

Pozzo was a tour de force onstage — brought to life by Long's booming voice. Long's body language and use of Pozzo's whip was incredibly intimidating. Charged with the difficult task of reacting to Long's cues and delivering a entire monologue-come-tirade, Cullen was mesmerizing.

Director Wilson skillfully transported the play to the present century. The use of chicken wire to construct the tree, and the inclusion of the junk yard that engulfed it gave the play a well-defined, industrialized setting.

Who is Godot, then?

Hemmerly said, "I think Godot isn't a person at all, but a mean of reality they are waiting for — but it's never going to come."

To discover for yourself who Godot really is, "Waiting for Godot" is running at Theatre II for $3 admission until Feb. 7 at 8 p.m., and an additional show will be at midnight Feb. 6.