This was my first visit to the late 19th century Coronet Theatre in Notting Hill since it was returned to its original use as a theatre, a brilliant restoration creating a very cool Off West End venue with foyer, bar and corridors filled with period furniture and objet d’art. For this production, the auditorium is made up of part of the stalls and the proscenium stage and the performing area is covered with carpets and traditional gamelan instruments.
The stage adaptation of the middle part of Samuel Beckett’s novel starts with the Irish Gamelan Orchestra, with the Indonesian percussion instruments supplemented by woodwind, violin and beautiful vocals. They leave the stage one by one, as they had arrived, and we encounter Pim, one of the two characters who in Part 1 had been buried in mud surrounded by cans and a can opener. His monologue is followed by one from the novel’s other character. At this point I was congratulating myself on my decision to come, and regretting missing Part 1 in 2018.
As with other Beckett works, it’s the poetry and music of the words more than their literal meaning, so it’s repetitive and obtuse but compelling. Unlike other Beckett works, this one goes on, and on, and on…..for 2h 30m with just three short contributions from the musicians making up 20% of that time. It outstayed its welcome by a long margin I’m afraid, and I was left wondering why you would stage a novel while there are a lot of plays, all more succinct and intended by Beckett for the stage.
Quite how Stephen Dillane and Connor Lovett remember it all is beyond me, though if they misremembered I’m not sure anyone would notice. Judy Hegarty Lovett directs and designs for Gare St. Lazare Ireland, using the space well. Mel Mercer’s music is one of the best things about it. Sadly, it was a case of more is less, and my initial enthusiasm waned and I left the theatre disappointed. If it lost a Beckett fan like me, it’s likely to deter a Beckett virgin or novice for life.
Gareth's Culture and Travel Blog 
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