Alias Godot
Written by Brendan Gall, directed by Richard Rose
Runs April 2 – June 1, 2008 @ Tarragon Theatre Mainspace (30 Bridgman Avenue)
By Daina Valiulis
If you like watching guys taser each other, slap each other around, dress in drag and lose their pants, there might be something in this play for you. Oh yeah, and if you’re into existentialism and deep thought, there’s that, too. Based on Samuel Beckett’s Waiting for Godot, new Canadian playwright Brendan Gall’s Alias Godot provided a night of fulfilling existentialism. Wait. What?
The play centres on detectives Vince (David Ferry) and his dim and sympathetic partner Eddie (played brilliantly by Paul Braunstein). Unlike Beckett’s mysterious Godot, Gall’s version (played by Alon Nashman) is present and, from the minute he runs onstage, chasing his bowler hat (a nod to Beckett), doesn’t leave.
Nashman plays an excellent Godot, appearing innocent, whimsical and bumbling, but also mysterious and menacing, subtly exerting his control over situations and characters without their knowledge. He reminded me of a twisted Mr. Bean – funny, but also strangely dark. Godot mostly observes the action on stage throughout the play, and it is fascinating to watch Nashman’s facial expressions in reaction to his fellow performers. I wondered if he was amused by his colleagues or he was meant to appear on the verge of bursting into laughter. Either way, it worked.
And it looked like the actors were having a blast during all the purely ridiculous situations and slapstick scenes (another nod to Beckett). While I love the idea of having physical comedy in a play, at times it could have been executed more precisely and more quickly: more violent and better offsetting the comedy. Sometimes it seemed obvious that someone was about to throw a punch or take a hit.
The set was impressive: a scuzzy light-blue interrogation room with a sharply sloped stage and angled walls, much like looking into a box. A two-way mirror on the back wall reflected the audience’s faces – an effective claustrophobia, isolating and creepy. Lighting began with a stark and revealing fluorescent effect in the beginning, descending (along with the characters) into a creepy putrid yellow. A halo of light shone over Godot throughout the show, emphasizing his importance and mystery.
Ultimately, a success. Alias Godot was like a chew toy for my mind, and I left with more questions than answers. Who is Godot really? God? In its day, Beckett’s version drew similar questions. (He denied Godot-as-God ever being a conscious choice.) What is Godot’s mission? What is the audience meant to take away? Are we all essentially alone? Do yourself a favour: watch this play with some buddies, laugh lots, then head out for a beer and discuss. It’s that kind of show.
