Endgame, Samuel Beckett’s hardy masterpiece from 1957, is so embedded in theatrical ritual that it’s almost inconceivable that it was once a fresh creation. This resiliency is highlighted in Druid’s superb rendition as part of Galway International Arts Festival at Town Hall Theatre Galway, earning it a commendable four-star rating.
In the play, Rory Nolan plays Hamm, a visually impaired, bitter recluse confined to his decrepit chair. His elderly parents, Nell and Nagg, portrayed by Marie Mullen and Bosco Hogan respectively, engage in nostalgic reverie of their past youth from their habitats within dustbins. Aaron Monaghan adds vibrancy in the role of Clov, a relatively nimble character who flits across, tending to the others with a likening to a hassled carer in a home for the hopelessly despondent.
There is the suggestion that the setting perhaps emulates the inside of a skull, with the squabbling characters and dual window eyes seemingly presenting an anthropomorphic reflection of the psyche. These ‘windows’ supposedly overlook a barren wasteland, as Clov relays to the audience, connecting to a notion of post-apocalyptic devastation.
Francis O’Connor’s set design and Garry Hynes’s direction (Hynes is known for her stunning adaptation of Waiting for Godot for the same company in 2016) contribute to this interpretation, creating an atmosphere reminiscent of a war bunker infused with creeping smoke.
However, Endgame withstands any specific anchoring and remains as elusive as it always was; it could take place anywhere and nowhere at once. The underlying humour of Beckett’s play, often self-deprecating, highlights the profound truth voiced by Nell, “Nothing is funnier than unhappiness,” poignantly summarising Beckett’s lifetime oeuvre.
Though the typical human fears pervade this production, it differentiates itself from former versions with its buoyant ambience. The eminent actors of the troupe, Hogan and Mullen, transform the wretched, abused detritus into bristly juveniles. Nolan’s appearance in a tattered yet formerly splendid-looking robe is an uncharacteristic portrayal of Hamm; his performance gives a sense of a man not yet in his twilight years, imitating senescence, thereby amplifying his vanity. Monaghan’s movement is reminiscent of classic silent film humour, contributing much to his plodding gait. All utilised articulate speech, allowing the dark humour to resonate afresh. That is, assuming that gloominess can come alive in this manner.
“Endgame” is being displayed at the Town Hall Theatre as part of the Galway International Arts Festival until the 28th of July, Sunday.