“A reflective and deeply human meditation on life’s journey.”
Royal Court had a sold-out audience this Monday evening for the press night of Krapp’s Last Tape/ Godot’s To-Do List. Bringing contemporary and classic together, Royal Court has paired two entwined scripts in celebration of Samuel Beckett in honour of its 70th Anniversary season. Beckett’s masterpiece has been reimagined by the legendary Gary Oldman as the Director, Designer and Performer. Newcomer Leo Simpe-Asante’s Godot’s To-Do List is a thoughtful and reflective take, inspired by Beckett’s Waiting for Godot.
Simpe-Asante’s script is a joy. As he describes, a man on a stool is given a list and told what to do. Those familiar with the Black Mirror series will find familiarity in the dystopian theming. Godot, excellently played by Shakeel Haakim, arrives at a stool and a small tree. The silent opening, mirroring what was to come, was performed with such ease. The anxious behaviour felt incredibly honest, not overdone or obvious, but Haakim’s skills shone in his physical performance. A ghostly voice, carried out by Flora Ashton, soon enters the narrative and begins listing a to-do list. What at first starts as a curiosity soon enrages Godot, who demands to know answers, whilst the voice continues to plague him.
Haakim holds the audience’s attention effortlessly, balancing comedy and frustration with real warmth. His comedy hit the mark every time, and each emotion felt relatable. Ashton was equally brilliant as the looming voice, as if the Underground announcer had been tasked with a new role. Where pace was everything, she delivered. The contemplative ending was the perfect introduction to the evening and a performance that can certainly stand alone to be enjoyed.
Darkness filled the theatre and the anticipation for Oldman’s arrival built. As a light flicked on, the old Krapp slowly climbed the stairs to his cluttered attic, and sat down at his desk to devour a banana, then another and nearly another, before settling into box three, spool five on his tape machine. The historical tape recorder sits as the only artifact on the desk, giving it the space it deserves as this machine was used by John Hurt, Michael Gambon and now, Oldman. What follows is a story where there are more questions than answers. Why did Krapp seem so vexed over the meaning of viduity and not the death of his mother? How had his literary career gone so south? Who is, or was, involved in the making of this man?
The chaos of the set fits perfectly with the narrative of life – messy to anyone but the owner. An attic filled with abandoned projects and fragments of a life half-lived. What first appears chaotic slowly becomes heartbreaking. The line ‘drowned in dreams’ can feel hopeful to a listener, but when witnessing the vast amount of projects left untouched and the harrowing reality of Krapp’s journey through the tapes, you realise that drowning has nearly suffocated Krapp’s life, and all his hopes in it. The lighting, focused around two hanging lights, illuminates the attic, bringing much-needed warmth to the atmosphere. Every creative choice feels carefully considered.
Oldman’s performance is exceptional. His ability to command a stage that does not give anything to hide behind is a craft built over decades. His shuffle around the room and sighs to the abyss can’t help but turn the corners of your mouth, knowing that this is exactly how similarly aged men are. His comedic energy, whether saying spool or gently patting the third banana, brings laughter to the audience. Moments of rage are felt fully and delivered with passion. There are also so many quiet moments, but each feels full of depth, intentionally allowing the audience to question what is unfolding. Taking on the three roles, Oldman has given so much to this work, and what a triumph it is.
That being said, will the play appeal to everyone? Unlikely. There is a frank reality that the story is a man listening to tapes, more often the same tape, and this may tire on those unfamiliar with the context of the piece. However, it is the human connection and relatability that strikes the audience. Not a hero’s story by any measure, but a story we all perhaps fear becoming our reality. Then there is the fact that the script has historically been performed by great actors, especially Oldman as he returned to the theatre for the first time in 37 years when this version was originally performed at York Theatre Royal last year. You can feel a sense of privilege in the room, the audience fully aware they are lucky to be there during the three-week run.
Godot’s To-Do List/ Krapp’s Last Tape runs until 30th May. This limited-time run is completely sold out but Royal Court has a reserve system in place for returned tickets and £15 Mondays for the lucky few. Find out more here.