Often linked with absurdity, existentialism, and abstractness, Beckett is a favourite in (French) physical theatre, where themes of endless repetition and waiting frequently feature. Comparatively, his sense of humour, which can truly make you laugh out loud, and his mastery of language are sometimes less explored in contemporary theatre.
However, such aspects of the less well-known Beckett are fully examined in The Beckett Trilogy, a production by Gare St Lazare Ireland. This is a three-hour one-man show conceived and directed by Judy Hegarty Lovett, with a marvellous performance by Conor Lovett. By engaging with three of his lesser-known works, Molloy, Malone Dies, and The Unnameable, The Beckett Trilogy boldly excavates the dark humour in his writings while still capturing his spirit and essence.
Conor Lovett is a true wordsmith, making you feel as if Beckett has just written the hot fresh lines exclusively for him the night before. In the first part, featuring the story of Molloy, a poignant, absurd yet funny tale about Molloy searching for his aging mother, Lovett is a bit shy, restraining himself from the audience with a slight stammer.
In the second part, focusing on Malone Dies, where Beckett delves deeply into the issue of death through Malone’s characters Saposcat and MacMann, Lovett unleashes his talent for humour, using pauses as his ultimate weapon to create various effects: alienation, doubt, and a hint of meta-drama that feels simultaneous, slightly teasing yet not offensive.
The third part of the show, with a projection featuring Lovett’s giant shadow indicating his jarred situation, begins to feel typically Beckettian: abstract, challenging, and painful. Mainly based on The Unnameable, Lovett presents the nameless and immobile narrator in a restless manner, struggling for expression and communication. With a gentle light on Lovett’s face, Simon Bennison and Jonathan Chan make direct address possible even in absolute darkness through a neat yet elegant lighting style throughout the performance.
“You must go on.” “I can’t go on.” “I’ll go on.” Such a Beckettian ending even conveys a hint of being romantic and sublime, despite all the despair and repetitive looping (yes, it’s still THERE). The overall pace of the night is progressive, evolving from a lighter, delightful sense of humour to something more devouring, thought-provoking, and enduring. The minimalist stage gives way to Lovett’s mastery of performance that requires our mind and soul, but it is definitely worth your while for a three-hour evening of something profound and heart-shaking.
The Beckett Trilogy is at the Coronet Theatre until 22nd June
