Sounding Beckett at the CSC consists of three Samuel Beckett one-acts surrounded by abstract, largely atonal
modern music interludes, played by a small string and wind ensemble. The plays,
themselves are of course little more than concept sketches—a single,
ambiguous tableau distilled to its barest essence by the most elliptical
dialogue—and atonal, modern music is often itself about ideas and motifs
similarly distilled, so it would seem like a perfect match. Unfortunately, it’s
more like a hat on top of a hat: dramaturgical austerity partnered with musical
austerity; it minimizes any humorous absurdity in the text, maximizes the
ponderousness of introspection and desolation and feels rather like the Beckett
you’re supposed to take because it’s medicinally good for you, rather than the
Beckett who’s sinfully, disturbingly entertaining despite his subject matter.
The actors Holly Twyford, Philip
Goodwin and Ted van Griethuysen do a noble, purist job under the likewise
all-correct direction of Joy Zinoman; but the concept itself defeats the enterprise.
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