Waiting for Godot

If you like modern theater, you may very well like this version of "Waiting For Godot" at The Hudson Theatre. Like "A Dolls House" at the same theater, Jamie Lloyd put "Godot" in the modern. Like Ibsen's "Doll House", Lloyd takes Beckett's play and brings it into today's times... no visible tree, only a large cone-like set (Soutra Gilmour). The set to me signify s endless time.

Much like "Dolls House", the lighting is dark, maybe too dark. Lloyd is most likely portraying Estragon's (Keanu Reeves) and Vladimir's (Alex Winter) darkness in life, their hopelessness. The direction, as well as the lighting (Jon Clark) bring forth the lost hope of these two men.

"Godot" in of itself is not for everybody. Many of the diatribes that fill the Hudson Theatre go on in an existentialist/ absurdist vernacular. If you don't listen carefully, it can be a long two hours for an audience member.

Unlike "Sunset Blvd" which Jamie Lloyd also directed, Reeves and Winter have difficulty holding the leads. In "Sunset", the leads commanded their roles. It became evident that the "Bill and Ted" actors were out of their depth when Lucky (Zaynn Arora) and Pozzo (Brandon J. Dirden) appeared. The two played their roles flawlessly with high emotion. Reeves and Winter both had trouble bringing the roles that they play to perfection.

At times "Godot" gets slow and has many audience members catching up on their sleep. Coupled with the darkness of lighting and set, the slowness tests the audiences patience. Add the modern take and many traditional theater lovers will find this play down right boring. To the modern theater goer, I think they will find this play exceptional on all levels sans the inconsistent acting.

BROADWAY STARTS THE FALL SEASON SIDEWAYS.

The first three shows of the year: "Art", "Punch" and "Waiting for Godot" are fair at best! It is not a great way to start the season. "Art", which I loved in the late 1990's is poorly directed in that the show's best actor, Bobby Carnevale is directed very poorly. Rather than go to his strengths, the director brings him out of his element and acting comfort zone. As one of Broadway's great actors, why direct him in a way that doesn't bring his acting chops to the stage?

Whereas Alan Alda and company back in the 90's were manly men criticizing the work of art that a friend purchased, this "Art" bores on the more pretentious ; the characters are not as likeable in this show as back when.

"Punch", another mediocre show. This show is billed as a great second act... one that will set you emotionally on fire! Really? Nothing great to see here. The direction once again is to blame. Moving along at a snails pace, the show loses the audience in rapid fashion. As you look at all the critics reviews, "Waiting for Godot", "Art" and "Punch" mostly have the thumbs going sideways with very few pointing up and some going downward.

Is Broadway playing it safe? Let's not forget that Broadway has not recovered it's full audience from Covid yet. Broadway musicals are losing money on the whole and very few original musicals are coming out, rather, the producers are just revitalizing tried and true musicals, but even most of them are not recouping their investments.

Unless Broadway directors and producers take more risk on their shows, the audience will not put up with plain theater. Shows need to be exciting and bold, and not safe. Maybe Broadway doesn't want to offend anyone, but that is not a receipt for success.

Broadway, Tony Awards, Netflix, Hollywood, Bobby Carnavale, "Art", Keenu Reeves, "Waiting for Godot", "Mama Mia", The Lion King", "Wicked", "Aladdin".