PARIS -- Ecole Active Bilingue Jeannine Manuel, the largest non-denominational independent school in France, has opened a new theatre on its main campus in Paris in the 15th arrondisement. The inaugural performance is Samuel Beckett’s tragicomedy of Waiting for Godot. Directed and played by the Charnal House Theatre Company of New York City, this production is perfect for the current economic environment, as it emphasizes the life-affirming, humorous parts of the play. If you have previously read or seen this play and could not relate to it, this production by Charnal House will change your attitude about this piece of literature. This production kept the existential doubt intact, while projecting a sense of optimism that ultimately humanity will both endure and prevail. It is definitely worth an investment of two hours of your time.
Beckett’s Waiting for Godot is admittedly and purposely a circular, existential foray into the inner meaning of human existence. One never needs to worry about revealing too much of the plot in reviewing it, as it has been described as a play where nothing happens twice. Yet just as Shakespeare opined that there can be “matter and impertinency mixed, reason in madness,” Waiting for Godot has ample method in its madness. Throughout the course of the play as we watch two vagabonds waiting for the elusive Godot, we are confronted with the most penetrating questions regarding humanity and our tenure on this planet. The dialogue alternates between direct hits on our funny bones and raw nerves. So many literary symbols and metaphors jump out of the text that they, along with the characters, ultimately end up in a metaphysical heap on the stage.
Although some performances of Waiting for Godot can sometimes seem to drag on, this production by Charnal House kept the audience riveted by emphasizing the light-hearted as well as the thought-provoking aspects of Beckett’s writing. During the monologue at the end by David Zéboulon’s Vladimir, one could have heard a pin drop. The result was an existential morality play that actually inspired hope. The interpretation was also classical, exemplified by the actors striking poses reminiscent of famous French sculptures such as Rodin’s Le Penseur (The Thinker). There were many touching moments made all the more moving by the depth of the performances by the actors. Existential doubt has never been so funny or so poignant. David Zéboulon’s singing and dancing skills added greatly to the performance, and both he and Jesse Liebman’s Estragon captured the essence of their characters. They were excellent at creating suspense out of thin air.
What came through resoundingly in this production is how Vladimir and Estragon’s single-minded wait for Godot is a symbol of the universal human aspiration for a better, more meaningful life. So often in life, we end up waiting and waiting for our own personal Godots – whether they be college acceptances, a glimmer of recognition from a particular person, the panacea offered by a politician, or the advent of some new, undefined era of change. Although Beckett’s text can leave us with grave doubts as to whether our personal Godots will ever come, this production conveys a message, perfect for these hard times, that the wait may not ultimately be in vain.
What stood out in this performance was how this team of actors worked so well together. This performance was not about the actors as individuals, but about the performance as a whole. The chemistry of the acting troupe worked so well that it drew the audience into the performance. The intimacy of the new theatre and fine acoustics also enhanced the sublime effect. The actors used body language and eye contact effectively to convey the message of the play. Since the actors playing Vladimir and Estragon were in their twenties, they were able to perform athletically, which gave true energy to the play. They, along with Joe Roland as Pozzo and Joey Ryan as Lucky, literally made the production come alive. This production is performed in English, yet adds some appropriate French touches to remind the audience that it was originally written in French and first performed in Paris in 1953.
Waiting for Godot has never seem like such a short wait as in this marvelous performance by the Charnal House Theatre Company. Playing at Ecole Active Bilingue Jeannine Manuel at 70, rue du Théâtre.
Mary Ann Toman-Miller
