Despite pacing issues, Bas Bleu Theatre’s production of Waiting for Godot is elevated by strong performances and innovative design

Seeing disjointed scenes from Waiting for Godot in my undergraduate acting class at Trinity University was my first introduction to Samuel Beckett’s masterpiece. Even in fragments, the play’s exploration of existential waiting left a lasting impression.

Now, experiencing the full production at Bas Bleu Theatre in Fort Collins, I’m reminded why Waiting for Godot remains a cornerstone of 20th-century drama. However, its lengthy runtime and deliberate pacing, while integral to its existential themes, occasionally test the audience’s patience.

A local treasure

Bas Bleu Theatre’s 99-seat venue provides an intimate setting perfect for the nuanced demands of Beckett’s work. Known for its commitment to thought-provoking productions, Bas Bleu has established itself as an important home for dramatic, innovative theater in Fort Collins.

This backdrop proves ideal for director Laura Jones, a Beckett scholar who has dreamed of directing Waiting for Godot for 40 years. In her director’s note, Jones describes the venue as the “perfect small space to stage Samuel Beckett’s masterpiece,” and her passion for the project is evident throughout the production.

Waiting for Godot centers on two characters, Vladimir (James Burns) and Estragon (Dan Tschirhart), who wait for a mysterious figure named Godot. To pass the time, they engage in a series of conversations, physical comedy and encounters with other travelers. This waiting becomes a metaphor for the human condition, filled with uncertainty and the search for meaning.

Jones’ deep understanding and appreciation of Beckett’s work shine through in her direction. She shifts the traditional country road setting to a contemporary bus stop, a place familiar to modern audiences as a site of waiting. This update allows scenic designer Roger Hanna to execute a creative vision that aligns with Jones’ thematic focus.

James Burns, Dan Tschirhart, and Matthew Smith in the Bas Bleu production of ‘Waiting for Godot’ | Photo: Bill Cotton

Innovative design and eerie ambiance

Hanna’s design is effective without being overwhelming. The centerpiece, an infinity mirror train stop, underscores the endless, cyclical nature of Vladimir and Estragon’s wait. The sparse set, consisting primarily of the track, a cart, and a weather-beaten tree, effectively conveys the desolate, barren world Beckett envisioned.

The lighting, designed by Price Johnston, and sound, by Alex Billman, further enhance the eerie ambiance. Johnston’s use of shadowy, minimalist lighting keeps the focus firmly on the dialogue, while Billman’s sound design subtly augments the atmosphere with an almost imperceptible sense of foreboding. The combination of these elements creates a shadowy abyss that is both captivating and disquieting.

Erin Carignan’s costume and makeup design complements the production’s overall aesthetic. The old-fashioned attire of the characters reinforces the timeless quality of Beckett’s world, though the costumes are somewhat indistinct from each other, which occasionally detracts from the individuality of the characters. Nonetheless, the understated, worn look of the costumes fits well within the minimalist design framework.

Performance highlights

Tschirhart and Burns deliver compelling performances that capture both the comic and tragic nature of Beckett’s characters. Their chemistry is palpable, especially in the moments of physical comedy and clowning, which are executed with precision. This is a testament to their work with clowning coach Heather Ostberg-Johnson, whose influence is evident in their playful interactions.

Matthew Smith as Pozzo and Ryan Wilke-Braun as Lucky also provide strong support. Smith’s portrayal of Pozzo’s bombastic, domineering presence is balanced by Wilke-Braun’s haunting, subservient Lucky, whose stirring monologue is a highlight of the play. Scar Leatherman’s brief appearance as the Boy adds a touch of mystery to the narrative.

Pacing a play about waiting

Despite these strengths, the production struggles with pacing. At two-and-a-half hours, the runtime is felt keenly by the audience. While the slow pace is intrinsic to Beckett’s exploration of waiting and existential inertia, it can be challenging for modern viewers accustomed to more nimble narratives. The direction by Jones, while respectful of Beckett’s intentions, sometimes falls into a repetitive rhythm that accentuates the play’s more excruciatingly slow stretches.

By emphasizing the monotony and apathy that Vladimir and Estragon experience, Jones effectively highlights the existential themes of the play; however, this approach also may alienate some, who may find the relentless waiting and lack of clear stakes difficult to engage with for prolonged periods. Though the slow pacing and repetitive blocking may test the patience of some viewers, the strong performances and innovative design make for a production remains a noteworthy and thought-provoking theatrical experience.

For those willing to embrace the slow burn and existential musings of Beckett’s world, Bas Bleu’s Waiting for Godot offers a rich, contemplative journey into the heart of human existence. Just be prepared to wait — both in the play and in the experience it provides.