Samuel Beckett - Waiting for Godot

Rating: 6.0

I read this play three or four years ago and then watched it a couple of times on a theatre stage. Both of the times I fell asleep. Such is the deep influence of absurdism on me.

And yet, tonight Godot came back again. I mean, metaphorically, as he never found the decency of showing up.
I dreamt they made a Broadway rock musical based on this cornerstone of a play.
Now it's hard to remember how the whole show went on, but I'll try to do my best in reporting a rough account of my dream.


Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He opens The Kinks' songbook and moans:

'I'm so tired
Tired of waiting
Tired of waiting for you

I'm so tired
Tired of waiting
Tired of waiting for you

I was a lonely soul
I had nobody till I met you
But you keep-a me waiting
All of the time
What can I do?'

He gives up, exhausted, rests, tries again.
As before. Enter Vladimir. He is Tom Waits.
(don't you think he is perfect for this role? He's Waits. He waits. For Godot).

Advancing with short, stiff strides, legs wide apart.
Vladimir broods, musing on the struggle. Turning to Estragon:
'So there you are again'.
He starts singing using a carrot as a microphone.
He mumbles an old hit by The Sonics.
Estragon makes the chorus parts (-)

'It's too late (it's too late)
You lied (you lied)
Now you (now you)
Will fry (will fry)
It's better (it's better)
Than hate him (than hate him)
He's waiting (he's waiting)
He's waiting (he's waiting)
For you, wowww'.

A terrible cry, close at hand. Estragon drops the carrot.
They remain motionless, then together make a sudden rush towards the wings. Estragon stops halfway, runs back, picks up the carrot, stuffs it in his pocket, runs to rejoin Vladimir who is waiting for him, stops again, runs back, picks up his boot, runs to rejoin Vladimir.
Huddled together, shoulders hunched, cringing away from the menace, they wait.

Enter Pozzo and Lucky. Pozzo drives Lucky by means of a rope passed round his neck, so that Lucky is the first to enter, followed by the rope. Lucky whispers a melancholic version of "Tainted Love":

'Sometimes I feel I've got to
Run away I've got to
Get away
From the pain that you drive into the heart of me
The love we share
Seems to go nowhere
And I've lost my light
For I toss and turn I can't sleep at night'.

Pozzo (with magnanimous gesture):
'Let's say no more about it. (He jerks the rope.) 'Up pig!' (Pause.) Every time he drops he falls asleep'. (Jerks the rope.) 'Up hog!'

Coup-de-theatre! Pozzo is actually Lou Reed. He's dressed up in velvet.
Pozzo turns a sunglassed glance to Vladimir and Estragon.
Then begins to hum:

'Oh pardon me sirs, it's the furthest from my mind
I'm just lookin' for a dear, dear friend of mine
I'm waiting for my man
Here he comes, he's all dressed in black
Beat up shoes and a big straw hat
He's never early, he's always late
First thing you learn is you always gotta wait I'm waiting for my man'

End of the first act.

Regretfully enough, I woke up during the interval. Which is funny, because it's exactly the same moment in which someone shook me calling me a sleepyhead both times while watching Godot live at the theatre.
My apologies for being unable to tell you how what happened in the second act of my dream. What I assume is that even in the Broadway rock musical version Mr Godot deserted the stage perhaps adducing some rehab engagement with a press release projected on the background.
Semi-quoting Vladimir/Tom Waits: "Godot's away on business".

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