Waiting For Godot

“Watching Garry Hynes’s highly stylized and very funny staging of this classic of modern literature, I found myself transported to Saturday mornings with Looney Tunes from my childhood.”

BEN BRANTLEY — NEW YORK TIMES

“The best production for 25 years. Druid Theatre’s production of the Beckett classic is exceptional and miraculous…That wry, spry physicality charges the whole performance, as vaudevillian as it is philosophical, where the uncommon intimacy of the theatre space puts us right in their midst and magnifies every effect.”

THE IRISH TIMES ★★★★★

“Hynes, with the assistance of movement director Nick Winston, makes the clowning bits feel choreographic, the verbal pauses often filled with gestures notable for their meticulous precision. When the stage direction indicates for Didi to think, Rea’s eyes quickly dart up and to the right, his brow and beard scrunch, his fingers tap quickly on his chin. It’s not complicated, maybe not unique, but it’s so perfect I want a picture of it.”

CHICAGO SUN TIMES ★★★★

“In a tragi-comical sense, it’s a routine between melancholy clowns. The gag becomes overtly funny when they find a hat, which added to their own hats makes three. And here comes the old vaudeville schtick: One passes the hat to the other fellow, who removes his own hat and, putting the new hat on his head, hands his own cap to the other chap, who completes the cycle, handing off his cap to the other man – until we’re watching a windmill of hats.”

CHICAGO ON THE AISLE ★★★★★

“The wacky movement choreography by Nick Winston works wonderfully in defining their desperation.”

STAGE AND CINEMA

“Nick Winston’s movement direction cleverly choreographs the antics of Vladimir and Estragon as well as Pozzo and Lucky.”

BERKSHIRE FINE ARTS

“But I love Garry's collaboration with Nick Winston as movement director. Nick's physicalization of these characters has almost a clowning stylisation, and I believe it works very effectively for Vladimir and Estragon. Plus Lucky's movement as a slave makes you exhausted just viewing. Visually you are hooked with how intriguing the movement in this piece is.”

ON STAGE BLOG

“Exploiting the physical disparity between the lanky Rea and the shorter Monaghan to amplify the script's physical comedy, there is a balletic precision to their interplay as they waltz together, walk arm-in-arm, or confront each other like duellists.”

BROADWAY WORLD