Bill Irwin and John Douglas Thompson, who first bonded in a Public staging of ‘King Lear,’ confront the opacity, playfulness, and unavoidable bleakness of another master, Beckett.
Though shy and reserved himself, he pushed his actors beyond self-consciousness to imaginative extremes and genuine discovery.
Beckett’s play about a woman living moment to moment in a pile of dirt is a natural fit, and a great lesson, for our pandemic isolation.
Ad Hoc Beaumont’s Beckett staging speaks to inmates in a medium-security prison, and even involves a few.
An O’Neill biography puts the drama centerstage, while a tantalizing compendium of Beckett-iana largely elides it.
From mental discipline to neck strain, the Irish actress recalls what Beckett’s muse taught her about letting her mouth do all the work.
From Dame Maggie Smith’s birth to Samuel Beckett’s death, December was a month of entrances and exits.
What other playwright could bring together a city’s diverse theatre artists, from classical to avant-garde, lavish to bare-bones?
At BAM and beyond, his plays propel the willing on a rueful search for meaning.