Endgame

Endgame, by Samuel Beckett, is in many ways an interesting choice for Black Swan State Theatre Company. Certainly not a commercial selection, Black Swan brought a unique perspective to the play, which made it a strong and watchable production.

While this is not an ‘easy’ night at the theatre, strong directorial choices, perceptive design and outstanding acting make this, without doubt, the best “Beckett” I have seen.

Director Andrew Ross and Designer Tyler Hill set Endgame in an abstract house that is surrounded and being absorbed by a black void. Deeply evocative of Western Australia, with use of colour and a pervading red dust, it is subtly futuristic and post-apocalyptic. Mark Howett’s lighting creates some stunning moments - especially the final images of Clov - perfectly framed in a doorway. The lack of sound design and use of silence - particularly as the show opens - is a stark and strangely powerful choice.

Strong performances from the small ensemble cast. Geoff Kelso expertly embodies the ill-mannered, badly behaved central character, Hamm, and while we do not ever empathise with his character. we are drawn into the performance. Kelton Pell is an excellent Clov, servant to Hamm, who is eminently likeable and relatable, with his beautiful matter-of-fact delivery key to the audience journey. Excellent support from Caroline McKenzie and George Shevstov as Nell and Nagg - Hamm’s parents who live in metal drums - measured and thoughtful performances. 

While not what you would describe as an enjoyable production (although their are some laughs), it is expertly and excellently presented, with some clever insights and much food for thought. Worth seeing for serious theatre-goers and lovers of Absurdism. A fascinating examination of the struggle to survive.

Kimberley Shaw

Photographer: Daniel James Grant