In the chapter “Godot in Political Context,” from BECKETT: Waiting for Godot, David Bradby of the University of London examines the sociopolitical implications of the play Waiting for Godot. He emphasizes the “provocative” nature of the play, acknowledging that, Waiting for Godot’s status as a classic often masks its messages as a play in mainstream theaters. He argues that theater-makers and theater-goers see the play as “safe,” but asserts that “the play has not entirely lost its provocative quality” because it continues to be performed at moments of “political oppression.”
He then dives into an explanation of examples in which Waiting for Godot served as a political dialogue. One notable example was the Belgrade Drama Theatre in 1954. This performance, the first Yugoslav production in Belgrade, was considered to be so inflammatory that only employees of the theater were ultimately allowed to attend the show. Bradby describes the public outcry that resulted as the beginning of “a momentum” that propelled the show into the political conversation.
In class, we discussed different locations and places to stage Waiting for Godot. In particular, we examined Paul Chan’s Waiting for Godot in New Orleans. Paul Chan describes his mission in the project, stating that the show “expresses in stark eloquence the cruel and funny things people do while they wait: for help, for food, for tomorrow.” This show can provide meaning to all who look to the future for change. He also writes, “The longing for the new is a reminder of what is worth renewing.”
So, where would I mount a production of Waiting for Godot right now? I, for one, have always been interested in outdoor theater, but never ambitious enough to attempt it. I believe that Waiting for Godot would be a brilliant piece to work with in the outdoors, as it has been done before. In particular, I would take it back to my hometown: the quiet, conservative Ladue, Missouri, in which the majority of adults in the area oppose change, despite the fact that the majority of their children are liberal. I would stage this show in a small setting, in which each line, each word, can be heard with clarity. In which the silences can hang in the air, and the dialogue feels most intimate. I would attempt to take this classic and bring it to my home, where everyone seems to be waiting for something to happen.