Beckett Triptych

Beckett is one of the most prolific writers of the 20^th century. Celebrated for his realism, his works illustrate a bleak view of human experience. His tales told in somewhat simplistic form, never leave the audience with closure. Beckett Triptych brings three of his later works together, each dealing with isolation and inner torment. Constantly asking questions, his ambiguous tales leave you uncomfortable, however his script draws you in.

Eh Joe is a story of one man’s desire to block out the outside world. His pain of past wrongs committed has lead him to a life of isolation, his eyes revealing the anguish and his face the strain of self-loathing. This is intensified as he hears the voice of his mother’s cruel reminders of his short-comings and pity. Though Blackwell does not utter a sound his face is magnified on a sheer curtain, allowing the audience to study this broken man. He does not blink for minutes at a time, the sting in his eyes washing down his face. Paul Blackwell’s Joe is hypnotic and Pamela Rabe as the voice of his mother is menacing. Set designer Ailsa Paterson has captured the mood perfectly with her grey angular set. Director Corey McMahon allows the words to penetrate the actor’s demeanor and his discomfort tells the story.

The audience are shuffled through to a second performing space to witness Beckett’s second offering, Footfalls. Lights go up to reveal an illuminated strip of boards. An ageless woman in a tattered dress walks up and down, careful to take nine steps before turning and repeating, her timing not unlike a metronome. Her head hangs, her sadness evident. She too appears to be alone, isolated from the world until the voice of her mother calls out, but what is never clear is whether her mother is in the next room or in the depths of her imagination. Only lifting her head for her monologues, she faces the audience to reveal a prematurely aged woman confused by her role and suffocated by her isolation. It is never revealed with any clarity whether she was a victim in her youth of some atrocity or whether her loneliness is that of choice. Pamela Rabe delivers a performance full of pauses allowing us to study her. Director Geordie Brookman makes sure not to rush the text, draining every syllable of the words until they are nothing but a memory. A sad tale full of questions that only you can answer.

Peter Carroll is Krapp, an old man sitting at a desk illuminated by one single light, he is surrounded by junk symbolising the mess and confusion that is ultimately his life. Although he has routines to showcase some control, they bring him no comfort. It is his 69^th birthday and as he does every year he prepares to listen to a tape from 30 years ago and record a new one. A notebook sits in front of him to remind him of important references, but he derives no enjoyment from his past mutterings, only frustration at his flaws. As he begins his new tape the fire once lit in his belly is gone, he is tired and acutely aware of his fragility. Although marred by a false start due to technical difficulties, Carroll captures the soul of Krapp; in no way is he senile but he is frail and bitter. Director Nescha Jelk does well to capture the growing frustration of the past 30 years. This play is scattered with Beckett’s own experiences and perhaps his own belief that he too would be reduced to a pile of musings.

There are no belly laughs to be had and Beckett is not for everyone, but if you enjoy his dark take on the human condition then you will be pleased with this night at the theatre.

Kerry Cooper

Image: Peter Carroll, Pamela Rabe and Paul Blackwell. State Theatre Company of South Australia, Adelaide Festival of Arts.

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