Thursday, April 01, 2010


Thanks very much to Michael Meigs ( for his extremely generous review. Here is a link to the review itself. Or, you can visit the main site and, if he has reviewed something else since, either scroll down, or type "Godot" into the search box.

Do I get to blow my own horn here? Why's my blog:
Ronnie Prior does "get it." This is a notable staging, an exploration in airy, droll and quizzical comic mode. Actors and director do not flinch from Beckett's dark message, but they glide through it, moment by moment, with a tolerance for ambiguity and for one another.

The Sam Bass cast keeps the play intensely alive, from the first moment with ticking clocks, when charming Ashlyn Nichols pirouettes onto the wasted urban landscape, gracefully flutters about the stage and assumes her central position and central role as The Tree. That's a gigantic wink to the audience, a reassuring sign that we will not be looking fixedly down sewers or into graves for this two hours. Nichols serves throughout as a bright, silent chorus to Gogo and Didi's flusteration.

I am ecstatic! And, Rylei? You do realize that you are the moral crux, right? Even though Michael didn't mention you by name...

Thanks again to Sam Bass Theatre for letting me do this, and to my most excellent cast and crew, who were all willing to plunge into my madness.

1 comment:

  1. Yes, the entire cast worked together, "like clockwork", each one has a very important gear to turn or chime to ring, and Rylei's is as important too! I LOVED Ronni's idea of using clocks on the set! And a person portraying a tree makes visible what a lot of us have always felt about trees: I know I am not the only one who has given trees names and felt comforted by them since childhood. I liked the juxtaposition of the graffiti with the park and the dancing tree.