Samuel Beckett is an Irish playwright from the mid 20th Century that is probably best known for his play “Waiting for Godot.” He wrote over 30 pieces for television and theatre. “Krapp’s Last Tape” was one his last works, written in the late 50s. In essence a man in his late 60’s (Krapp) listens back to a tape recorded by himself some thirty years earlier.
Actor Stephen Rea plays the part of Krapp. Rea came to fame playing Fergus in the movie “The Crying Game” and has gone on to have a successful and varied career in film, television and the stage. Rea was fascinated with the play and decided in his younger life, somewhat fortuitously, to record sections of the play in case there would be a time in the future that he would perform the piece. What we have now is a genuine reflection on life from three decades prior.
Director Vicky Featherstone has stripped the play to the bare essentials. The stage is effectively lit by a single overhead globe, with a table and chair the only real props. The imagery of the stage is deliberately black and white, thanks to set designer Jamie Vartan. Is Krapp’s life black and white, or can we find shades of grey in his reflections?
In true absurdist style, Krapp starts his day by taking a banana from his locked desk and eating it. There is some light comedy with the banana skin, followed by a second banana. The physical comedy is restrained yet sets the mood for what is to come.
At some point, Krapp then looks through his notes to find the tape that he wants and sets up the spool machine to listen. There are some recurring themes in his personality. His banana fascination is evidently a lifelong foible. He finds the word “spool” particularly funny.
As he listens back to his younger self, he hears that his younger self was expecting better of his later life. Yet he seemed to have it all back then. He was in love and had some optimism. It is perhaps unusual that he would record tapes to reflect on until we realise that the youth of today are doing exactly that on social media.
The point of the play seems to be that our life journey is always peppered with hope and optimism, yet when we reflect, we somehow lose our way. Krapp barely recognises himself, yet he’s the same person, only older.
Rea performed the piece with a sense of seriousness, with flashes of humour sometimes hitting the mark, sometimes not quite. Whether it is meant to be a warning on growing old or a celebration of life was not so clear, but it is certainly an interesting reflection.
John Goodridge attended the performance of “Krapp’s Last tape” on 28th Feb
Plays in Dunstan Playhouse as part the Adelaide Festival until Saturday March 8th
https://www.adelaidefestival.com.au/events/krapps-last-tape/
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