RTC’s ‘Waiting for Godot’ dives in to ponder human existence 

By Lucie K. Scheuer for the Rogue Valley Times  

“Waiting for Godot” is a descent into madness. It is also a brilliantly disguised treatise on the human condition, and now’s your chance to catch Rogue Theater Company’s weighty production of it at the Richard L. Hay Center at Grizzly Peak Winery.  Not everyone will have the patience to wade through the series of seemingly oblique conversations that arise between two down-and-out vagabonds, but for those who enjoy literary inquiry — and exceptional acting — it’s well worth an afternoon.  

Samuel Beckett, an Irish playwright, poet, novelist and one of the most influential writers of the 20th century, finished this fragmented, stream of consciousness masterwork shortly after the end of World War II, and like many writers who lived through that time, it seems as though he was trying to come to terms with the outrageous acts of cruelty and senseless loss of life. As a result, “Godot” is sort of like if Beckett and Kurt Vonnegut had a baby — a very strange baby. It can be quite darkly humorous, while at the same time, annoyingly self-conscious, and esoterically reflective.  

The story begins as two downtrodden buddies, Vladimir and Estragon, who are supposed to be meeting a fellow named Godot, stop to rest beneath a barren tree. To pass the time, the two begin to converse about seemingly mundane things, which evolves into a series of ponderings about existence.  The dialog, at times, is more about what isn’t said. At times it is tedious, yet demands all your attention. There are pregnant pauses and profound reflections. Each man has questions that begin to circle around ideas relating to God’s seeming indifference to man, man’s estrangement from God, and man’s inhumanity to man.  

The vagabonds are joined by the landowner, a villainous character named Pozzo, suggestive of a ringmaster, who owns a slave (ironically named Lucky), whom he treats like a trained monkey. Pozzo — the master of cruelty — oblivious to pain, who manipulates with abandon. Is he Satan? The ruling upper class? The exploiter of workers? It’s up to you to decide.  

Ray Porter who plays Estragon, and Derrick Lee Weeden who plays Vladimir, remind one of Laurel and Hardy as they go about the business of waiting — clumsy yet coordinated, annoying yet amusing. Their timing and interactions are as succinct, coordinated and reliable as the first and second hands on an analog clock.  Hold on to your hats, though.  There’s a mind-blowing, masterfully-delivered soliloquy uttered by Jonathan Haugen as Lucky. A tongue-twister of a monologue that may leave you dumbfounded.  Slowing down this rambling rant in your head, you begin to derive some meaning. Is it really a eulogy about the death of decency? God’s indifference? The fall of man? You listen. You decide.  

Director Robynn Rodriguez has made “Waiting for Godot” make sense, and for that we should all be grateful. The seemingly impromptu conversations, the deliberate movements, on, in and around the stage are seamless. She coaxes five actors to interact comfortably under the most unpredictable circumstances.  Preston Mead plays Godot’s messenger boy, who delivers messages to Estragon and Vladimir with just the right amount of vagueness and ambiguity. Is he toying with them or representing hope?  Is “Godot” a morality play? Maybe. You do have characters showing up who represent existential concerns, the unknown, uncertainty, death. After having made various attempts to understand “Waiting for Godot” over several years, this writer has come to the conclusion — nobody knows. Even the playwright wasn’t sure.  My suggestion? Stop waiting and go see if you can find him. 

Performances of Rogue Theater Company’s “Waiting for Godot” are scheduled for 1 p.m. Wednesdays through Sundays, through Nov. 2 at Grizzly Peak Winery, 1600 E. Nevada St., Ashland. Regular tickets are $40; $45 at the door. See roguetheatercompany.com or call 541-205-9190 for showtimes, tickets and further information.