Waiting for Godot

Waiting for Godot comes with a lot of baggage: it is heralded by many as the greatest play of the 20th century; viewed as a discourse in existentialism and seen as the starting point of a new movement in world theatre.
Analytical work examines every line, name and stage direction for significance. With all of this, it's easy to forget that Beckett meant for the play to be first and foremost one thing: entertainment.

The current production at the Citizens is entertaining ' very much so at times.

Director Guy Hollands has created a solid production, both embracing Beckett's work and finding fresh life. The staging is clever, effectively balancing the characters and the dramatic action, and for the most part the pacing is quick.

Kevin McMonagle and Gerry Mulgrew are the two transients, Estragon and Vladimir, and bring comedic sparks that compliment each other in playfulness and seriousness. James Ryland's Pozzo is a mixture of power and passion, an individual that may nurture or lash out at any given moment. Keith MacPherson's Lucky is both funny and heartbreaking; his monologue of random thinking ' that first pleases, then tortures, the others ' is a highlight. Even William Ruane's Boy, a character on stage for less than five minutes, fits comfortably into the action.

I heard a lot of mumbles from the audience, during and after the performance, with opinion evenly split. Many found much to dislike, comparing it unfavourably to their preferred interpretations, while others were pleasantly surprised ' shocked, even ' that the play was alive and funny.

It may not be the best production of the play I've seen, but with its fine performances and focus on comedy, this Godot is enjoyable. It is easily accessible to those who have not experienced Beckett's work before, while offering enough fresh ideas to keep those familiar with the play happy.