Photo credit: www.broadwayworld.com
Gary Oldman has made a notable return to the York Theatre Royal, the venue where he launched his career, taking on the role in Samuel Beckett’s iconic piece, Krapp’s Last Tape. This gripping production is slated to run until 17 May 2025.
In this poignant play, Krapp records annual tapes on his birthday, reflecting on his life at each stage. On the occasion of his 69th birthday, he is a solitary man, accompanied only by a bottle of wine, a banana, and his tape recorder. As he listens to a recording from his younger self, he confronts the aspirations and dreams he once held dear. Here’s a glimpse into the critical reception of the performance…
Arifa Akbar from The Guardian observes: “Oldman reveals vulnerability with each passing moment. The audience is drawn into the intimate experience of listening alongside him. The theater’s ambiance, aided by Malcolm Rippeth’s exquisite lighting and Tom Smith’s precise sound design, enhances this intimacy. Notably, the production utilizes the same tape recorder showcased in previous renditions by Michael Gambon and John Hurt, symbolizing the fading vitality of Krapp as age takes its toll.”
According to Houman Barekat of The New York Times, while the show might show signs of self-indulgence—Oldman not only stars but also directs and designs the set—the outcome is a remarkable gathering of 750 attendees at a regional playhouse. They were treated to a nuanced performance of a complex work and had wrapped up their evening just in time for dinner, leaving them both contemplative and enriched.
Patrick Marmion from The Daily Mail points out that Oldman’s star power has extended the play from its typical 30-minute run to an unusually measured 55 minutes. This change is attributed to some playful, dramatic choices, including his unconventional method of peeling bananas. Marmion humorously reflects on how this performance has altered his own perspectives on the fruit.
Dominic Maxwell of The Times comments on Oldman’s ability to maintain depth as his character reflects on experiences of love and ambition. While the narratives may occasionally feel elusive, Oldman portrays a humorous detachment as he sips from a drink, allowing the audience to connect with his expressions amidst the dialogue with his younger self.
In the view of Charles Hutchinson, writing for York Press, some may long for a more intimate staging of the play, arguing that the Theatre Royal’s larger space underscores Krapp’s solitude. Oldman effectively utilizes facial expressions and physical nuances to convey the emotional turmoil of his character, filling the setting with remnants of life that contribute to the narrative’s richness.
Finally, Dan Sinclair from All That Dazzles expresses concern that the production might be overshadowed by its grandeur. Noting the play’s historical significance, they suggest that, despite an intellectual approach to themes of memory and existence, it lacks the vitality to leave a lasting impact on contemporary audiences.
For those interested in further reviews, click here!
Just in Time
Circle in the Square (Broadway)
Exciting news as Tony Award winner Jonathan Groff returns to Broadway, portraying Bobby Darin, the iconic singer whose remarkable journey transitioned him from a teen idol to a global sensation. JUST IN TIME is a lively new musical that invites audiences to step into an intimate nightclub atmosphere, complete with live music, a talented cast, and timeless hits from Bobby Darin such as “Beyond the Sea,” “Mack the Knife,” “Splish Splash,” and “Dream Lover.”
Reader Reviews
To post a comment, you must register and login.
Win Two Tickets to The Great Gatsby
Source
www.broadwayworld.com