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WAITING FOR GODOT concludes limited engagement 7/12

Final Week!

ROUNDABOUT THEATRE COMPANY

 

Nathan Lane, Bill Irwin, John Goodman, John Glover

(in order of speaking)

in

Waiting for Godot

By Samuel Beckett

Directed by Anthony Page

concludes its limited engagement Sunday, July 12th, 2009

“This ‘Waiting for Godot’ is a smart, engaging production and deeply satisfying. Mr. Page and his cast generate brisk comic liveliness throughout the show with tasty variety of style and pacing enforced by the grace of fine actors. ”

 – Ben Brantley, New York Times

“Roundabout Theatre Company’s revival is beautifully simple — and very, very funny.”

– Terry Teachout, Wall Street Journal 

On Broadway at Studio 54

Roundabout Theatre Company’s (Todd Haimes, Artistic Director) limited engagement of Waiting for Godot will play its final performance on Sunday, July 12that 2:00 PM. This revival of Samuel Beckett’s classic play stars (in order of speaking) Nathan Lane (Estragon), Bill Irwin (Vladimir), John Goodman (Pozzo) and John Glover (Lucky), directed by Anthony Page.  

Waiting for Godot will have played 31 preview performances and 85 regular performances.  Previews began on April 3rd, 2009 and opened officially on April 30th, 2009 at Studio 54 on Broadway (254 West 54th St). 

The cast also includes Cameron Clifford (A Boy) and Matthew Schechter (A Boy).  The design team includes Santo Loquasto (Sets), Jane Greenwood (Costumes), Peter Kaczorowski (Lights) and Dan Moses Schreier (Sound).

Waiting for Godot remains Samuel Beckett’s most magical and beautiful allegory.  The story revolves around two seemingly homeless men waiting for someone – or something – named Godot.  Vladimir (Bill Irwin) and Estragon (Nathan Lane) wait near a tree on a barren stretch of road, inhabiting a drama spun from their own consciousness.  The result is a comical wordplay of poetry, dreamscapes and nonsense, which has been interpreted as a somber summation of mankind’s inexhaustible search for meaning. 

TICKET INFORMATION:

Tickets are available by calling Roundabout Ticket Services at (212)719-1300, online at www.roundabouttheatre.org or at the Studio 54 theatre box office (254 West 54th Street).

PERFORMANCE SCHEDULE:

Waiting for Godot plays Tuesday through Saturday evening at 8:00 p.m. with Wednesday, Saturday and Sunday matinees at 2:00 p.m. 

WAITING FOR GODOT’S GLOVER IN THE NEW YORK TIMES

Tony nominee, John Glover is currently starring in WAITING FOR GODOT at Roundabout’s Studio 54 on Broadway.
 

The New York Times

May 15, 2009

 

Sunday Styles

 

http://www.nytimes.com/2009/05/17/fashion/17night.html?ref=todayspaper

 

A Night Out With | John Glover

Act 1, Purl 2  

By SANDY KEENAN

 

JOHN GLOVER, who is known for the twisted villains he portrays, fingered the buttery fibers of bamboo, cashmere, cotton and silk that filled the bins at the Point Knitting Cafe in Greenwich Village. He settled on an eco-friendly bark-hued wool from Peru and a softer but pricier black cotton from Argentina.

 

“Isn’t this a good green?” he asked, holding up another skein.

 

He knits only scarves, luxuriously long and wide.

 

Virtually unrecognizable from his role as Lionel Luthor in “Smallville,” Mr. Glover, 64, was dressed in dark yoga-style clothing. His signature shock of brown hair was gone, shaved daily for his role in the Roundabout Theater Company’s new production of “Waiting for Godot,” for which he has just been nominated for a Tony Award.

 

This learning a craft upon a craft began in the 1960s, during his first Equity job at Stage West in Springfield, Mass. He couldn’t stand the monotony of theater life, so the wardrobe director taught him to knit.

 

“Once I started this knitting, this making, this creating, I stopped being so angry,” Mr. Glover said over a double espresso. “It was kind of a meditation. That’s why I only do scarves: it keeps it very simple. I can keep my mind fresh, and stay where I am mentally.”

 

“Godot” is different from other plays in that it doesn’t allow him time for knitting at work. In the physically demanding role as Lucky, a slave, Mr. Glover is constantly on stage but mute save for one long nonsensical monologue. Dark greasepaint dirtying his hands and body is another obstacle.

 

As he built a résumé of Broadway, television and film roles, his knitting skills waned. Then the actress Annette O’Toole, a colleague on the WB series “Smallville,” assigned the show’s “knitting women” to complete squares for an afghan to be auctioned for Mr. Glover’s dearest cause, the Alzheimer’s Association. When one woman failed to complete her squares, he stepped in. The project rekindled his love of knitting.

 

Click here to read the full article:

http://www.nytimes.com/2009/05/17/fashion/17night.html?ref=todayspaper  

ROUNDABOUT’S WAITING FOR GODOT EXTENDS TO JULY 12

ROUNDABOUT THEATRE COMPANY 

Announces a one-week extension!

 

Nathan Lane, Bill Irwin, John Goodman, John Glover

(in order of speaking)

Star in a new Broadway production of

WAITING FOR GODOT

By Samuel Beckett

Directed by Anthony Page

 

Now through Sunday, July 12th, 2009.

On Broadway at Studio 54

 

“This ‘Waiting for Godot’ is a smart, engaging production and deeply satisfying. Mr. Page and his cast generate brisk comic liveliness throughout the show with tasty variety of style and pacing enforced by the grace of fine actors. ” – Ben Brantley, New York Times

 

“Roundabout Theatre Company’s revival is beautifully simple — and very, very funny.”

– Terry Teachout, Wall Street Journal

 

 

Roundabout Theatre Company (Todd Haimes, Artistic Director) is pleased to announce a one-week extension of Waiting for Godot through Sunday, July 12th, 2009.

 

Nathan Lane (Estragon), Bill Irwin (Vladimir), John Goodman (Pozzo) & John Glover (Lucky) star (in order of speaking) in a new Broadway production of Waiting for Godot by Samuel Beckett, directed by Tony® award winner Anthony Page.

 

Waiting for Godot opened officially on April 30th, 2009 at Studio 54 on Broadway (254 West 54th Street) and the limited engagement has been extended through July 12th, 2009.

 

The cast also includes Cameron Clifford (A Boy) and Matthew Schechter (A Boy).  The design team includes Santo Loquasto (Sets), Jane Greenwood (Costumes), Peter Kaczorowski (Lights) and Dan Moses Schreier (Sound).

 

Waiting for Godot remains Samuel Beckett’s most magical and beautiful allegory.  The story revolves around two seemingly homeless men waiting for someone – or something – named Godot.  Vladimir (Bill Irwin) and Estragon (Nathan Lane) wait near a tree on a barren stretch of road, inhabiting a drama spun from their own consciousness.  The result is a comical wordplay of poetry, dreamscapes and nonsense, which has been interpreted as a somber summation of mankind’s inexhaustible search for meaning. 

 

A cornerstone of twentieth century theatre, Waiting for Godot was Samuel Beckett’s first professionally produced play.  It premiered in Paris in 1953 and premiered on Broadway in 1956 at the John Golden Theatre.   Beckett’s language pioneered an expressionistic minimalism that captured the existentialism of post-World War II Europe.

 

Waiting for Godot has been nominated for two Drama Desk Awards including: Outstanding Revival of a Play & Outstanding Actor in a Play (Bill Irwin); five Outer Critic’s Circle Awards including: Outstanding Revival of a Play, Outstanding Actor in a Play (Bill Irwin & Nathan Lane), Outstanding Director of a Play (Anthony Page) and Outstanding Set Design (Santo Loquasto); two Drama League Awards: Distinguished Performance (Bill Irwin & John Glover).

 

 

TICKET INFORMATION:

Tickets are available by calling Roundabout Ticket Services at (212)719-1300, online at www.roundabouttheatre.org or at the Studio 54 theatre box office (254 West 54th Street).  Ticket prices range from $36.50 to $121.50.

 

PERFORMANCE SCHEDULE:

Waiting for Godot plays Tuesday through Saturday evening at 8:00 p.m. with Wednesday, Saturday and Sunday matinees at 2:00 p.m. 

 

 

ROUNDABOUT THEATRE COMPANY is one of the country’s leading not-for-profit theatres.  The company contributes invaluably to New York’s cultural life by staging the highest quality revivals of classic plays and musicals as well as new plays by established writers. Roundabout consistently partners great artists with great works to bring a fresh and exciting interpretation that makes each production relevant and important to today’s audiences.

 

  1. Together these three distinctive venues serve to enhance the work on each of its stages.

 

 

 

Roundabout Theatre Company’s 2008-2009 season includes Lisa Loomer’s Distracted featuring Cynthia Nixon, directed by Mark Brokaw; Christopher Hampton’s The Philanthropist, starring Matthew Broderick, directed by David Grindley.  Roundabout’s sold out production of The 39 Steps made its second Broadway transfer to the Helen Hayes Theatre on January 21, 2009.

 

Roundabout Theatre Company’s 2009-2010 season includes Mark Saltzman, Irving Berlin & Scott Joplin’s Tin Pan Alley Rag, directed by Stafford Arima; Patrick Marber’s After Miss Julie, starring Sienna Miller, directed by Mark Brokaw; Michael Stewart, Lee Adams and Charles Strouse’s Bye Bye Birdie, starring John Stamos, Gina Gershon and Bill Irwin, directed and choreographed by Robert Longbottom; Carrie Fisher’s Wishful Drinking, directed by Tony Taccone; Noël Coward’s Present Laughter starring Victor Garber, directed by Nicholas Martin.

 

www.roundabouttheatre.org

 

# # #

HIGHLIGHTS OF A STAR-FILLED 08-09 BROADWAY SEASON

2008-2009 Broadway Season Officially Ends

 

HIGHLIGHTS OF AN HISTORIC STAR-FILLED YEAR,

PACKED WITH PLAYS,  INCLUDES: 

 

The Seagull • A Man For All Seasons •  To Be Or Not To Be • All My Sons • White Christmas 

 Shrek •  Pal Joey •  Soul of Shaolin•  The American Plan  • Hedda Gabler •  33 Variations 

God Of Carnage •  Impressionism •  Exit The King • Mary Stuart •  The Norman Conquests 

The Philanthropist • Accent on Youth •  Waiting for Godot 

 

as well as the stars:

Joan Allen •  Matthew Broderick •  Stockard Channing    Jeff Daniels   Hope Davis

Jane Fonda    Sutton Foster   James Gandolfini •  John Glover •  John Goodman

Colin Hanks   Marcia Gay Harden • Katie Holmes   Jeremy Irons  •  Bill Irwin

Brian d’Arcy James   Nathan Lane •   Frank Langella John Lithgow   Samantha Mathis

Jan Maxwell   Janet McTeer •  Mary Loiuse Parker    David Hyde Pierce

Lily Rabe  David Rasche   Matthew Risch     Mercedes Ruehl    Geoffrey Rush

Susan Sarandon •  Peter Sarsgaard   Christopher Sieber  Kristin Scott Thomas

Harriet Walter • Steven Weber •  Dianne Wiest   Patrick Wilson

 

Visit the link below for a 2.5 minute glance back at the stars and shows this season

www.youtube.com/watch?v=dZ1ZH2TZNT8

 

 

Here are some highlights from the season. 

 

This was one of the busiest, starriest and eclectic Broadway seasons in years, featuring productions and performances that will make it one to remember.   Starting in October with The Seagull starring Kristin Scott Thomas and Peter Sarsgaard, through last night’s Roundabout Theatre Company revival of Waiting for Godot starring Nathan Lane, Bill Irwin, John Goodman and John Glover, 43 productions have opened on Broadway, including 10 new musicals, nine new plays, four musical revivals, 16 play revivals and five “special events.” 

 

Fall kicked off with the Royal Court’s acclaimed production of Chekhov’s The Seagull directed Ian Rickson, examining the romantic entanglements and regrets of a group of artists gathered on a Russian estate. 

 

Roundabout Theatre Company began autumn exploring politics, religion and power with Frank Langella in A Man for All Seasons directed by Doug Hughes, and wrapped up 2008 with Stockard Channing , Martha Plimpton  and Matthew Risch in Pal Joey, directed by Joe Mantello.  Ibsen’s Hedda Gabler starring Mary Louise Parker rang in the new year at Roundabout, in an adaptation by Christopher Shinn.

 

 

Arthur Miller’s All My Sons, asked audiences to reexamine the costs of war when it returned to Broadway this fall, directed by Simon McBurney and starring John Lithgow, Patrick Wilson, Dianne Wiest and Katie Holmes. 

 

Snow fell early on Broadway when Irving Berlin’s White Christmas, a new stage adaptation of the classic film, opened in November starring Stephen Bogardus, Kerry O’Malley, Jeffry Denman and Meredith Patterson, featuring direction by Tony Award winner Walter Bobbie and choreography by Randy Skinner.

 

The Great White Way saw green in December when Shrek The Musical landed at the Broadway Theatre starring Brian d’Arcy James as the loveable ogre and Sutton Foster as Princess Fiona. Also starring Daniel Breaker, Christopher Sieber and John Tartaglia, the new musical is directed by Jason Moore and written by David Lindsay Abaire (book & lyrics) and Jeanine Tesori (musical) with choreography by Josh Prince.   Flying monks were spotted a few blocks south when Soul of Shaolin played a limited run at the Minskoff.

 

Manhattan Theatre Club opened their season with To Be Or Not to Be, directed by Casey Nicholaw and began the new year in the Catskill Mountains of the 1960s with Richard Greenberg’s The American Plan starring Mercedes Ruehl and Lily Rabe.  They wrapped up their season with Samuel Raphaelson’s on-and-off stage love story, Accent on Youth starring David Hyde Pierce and directed by Daniel Sullivan.

 

This spring, Jane Fonda returned to Broadway after 46 years to confront an obsession with Beethoven and to settle with her on stage daughter played by Samantha Mathis in Moisés Kaufman’s 33 Variations, alongside Colin Hanks and Zach Grenier.  Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden tried to make nice (and failed) in Yasmina Reza’s comedy God of Carnage directed by Matthew Warchus.  Jeremy Irons and Joan Allen returned to Broadway after long absences to star in Michael Jacobs’ examination of art and love in Impressionism, directed by Tony Award-winner Jack O’Brien.

 

Fictitious monarchs Geoffrey Rush, Susan Sarandon, and Lauren Ambrose – and unappreciated servant Andrea Martin – added their regal presence to the Rialto in Eugene Ionesco’s Exit the King under the direction of Broadway newcomer Neil Armfield.  Historic British royalty was welcomed when Harriet Walter and Janet McTeer took to the stage in the Donmar Warehouse production of Mary Stuart, directed by Phyllida Lloyd.  And The Norman Conquests, Alan Ayckbourn’s trilogy, showcased a somewhat more middle class group of Brits, helmed by the busy Matthew Warchus.

 

Christopher Hampton’s The Philanthropist , directed by David Grindley and starring Matthew Broderick and Steven Weber, looked at the empty, insular lives of college intellectuals.  Appropriately closing the season is Samuel Beckett’s historic Waiting for Godot starring Nathan Lane, Bill Irwin, John Goodman and John Glover, and directed by Anthony Page.  It tells of two seemingly homeless men waiting for someone or something to explain life’s meaning – which, of course, never shows up.  Vladimir and Estragon might be relieved to know that as of yesterday, this year’s season has arrived at its end.

 

Please visit the link below for a 2.5 minute long glance back at the stars and shows this season  www.youtube.com/watch?v=dZ1ZH2TZNT8

 

 

#  #  #  # 

 

ROUNDABOUT’S WIATING FOR GODOT IN THE NEW YORK TIMES

NEW YORK TIMES

May 1, 2009

 

THEATER REVIEW | ‘WAITING FOR GODOT’

Tramps for Eternity

By BEN BRANTLEY

 

Read a Q&A with director Anthony Page on NYTimes.com here:  NYTimeswithAnthonyPage

 

Half a century after he first appeared on Broadway, which is also how long it’s been since he last appeared on Broadway, the old tramp still can’t deliver a simple song. Heck, Vladimir can’t even get the tune right as he wanders through the graveyard ditty that begins the second act of Samuel Beckett’s “Waiting for Godot,” which opened on Thursday night at Studio 54.

 

Yet by the time he’s finished struggling through his number — and moods that dance between defeat and defiance — Vladimir the hobo (played by Bill Irwin) is more inspirational than a dozen Susan Boyles belting beat-the-odds renditions of dream-dreaming anthems.

Ms. Boyle’s closely watched performance in a British talent contest may capture show-biz fantasies of the ordinary transfigured. Vladimir’s clumsy musical stylings follow how ordinary life really plays out. His making it through his song, step by faltering step, is like anybody making it through a single day. And the next day, and the next day, and all the next days to come. If he isn’t some sort of hero, then none of us are.

 

That’s entertainment? A grotty, half-senescent guy wrestling a song to a draw? When “Waiting for Godot” first arrived in New York 53 years ago, critics and theatergoers were divided on that question. (It ran for 59 performances, with a revival the following year that lasted less than a week.)

 

But in 2009, Anthony Page’s smart, engaging production for the Roundabout Theater Company makes it clear that this greatest of 20th-century plays is also entertainment of a high order. It seems fitting that “Godot” — which also stars Nathan Lane, John Glover and John Goodman — returns to Broadway in an interpretation that emphasizes the irresistible rhythms achieved by Beckett’s radical literary surgery, that of cutting basic theatrical diversions off at the knees.

 

Listen, for example, to Estragon (Mr. Lane), Vladimir’s vagabond companion of many decades, starting to tell a joke about an Englishman in a brothel and then forgetting all about after it the first line.

 

Or the lordly, arrogant Pozzo (Mr. Goodman, in a bravura Broadway debut), his booming authority fading as he finishes a lush pastoral description and says: “I weakened a little toward the end. Did you notice?” Or the cadaverous Lucky (Mr. Glover), Pozzo’s ill-used slave, trying to dance on collapsing legs.

 

At first glance, Vladimir and Estragon (or Didi and Gogo), side by side, resemble Judy Garland and Fred Astaire, slumming it in Irving Berlin’s larky hobo duet, “A Couple of Swells.” Look closer, though: these tramps’ faces are encrusted with what look like syphilitic chancres and fresh cuts, as well as stage dirt.

 

All the classic music-hall routines have been crippled and in the process acquire their own compelling grace and energy. “Waiting for Godot” may well be the ultimate statement in world drama on existential futility in the wake of the atom bomb and all that. But it’s also a brilliant piece of craftsmanship, which exactly matches its form to its content, while holding a mirror to its audience.

As Kenneth Tynan wrote of Beckett’s tramps after the infamous London premiere of “Godot” in 1955: “Were we not in the theater, we should, like them, be clowning and quarreling, aimlessly bickering and aimlessly making up — all, as one of them says, ‘to give the impression that we exist.’ ”

 

The high-concept reframing of this play over the years, the versions that have set it in assorted slums and postnuclear wastelands, have overdressed a work that needs no accessories. Mr. Page is a strong, naturalistic director who works from within the text rather than layering over it. (His previous Broadway productions include the excellent revivals of “A Doll’s House” in 1997 and “Who’s Afraid of Virginia Woolf?” in 2005.)

 

To read the entire review, click here: 

http://theater2.nytimes.com/2009/05/01/theater/reviews/01godo.html?ref=arts 

GODOT’S BILL IRWIN IN THE STAR LEDGER

  Roundabout Theatre Company’s WAITING FOR GODOT is playing at Studio 54 on Broadway  

Star-Ledger

April 26, 2009

http://www.nj.com/entertainment/arts/index.ssf/2009/04/bill_irwin_relishing_the_role.html

Bill Irwin relishing the role he’s been waiting for

by Linda Fowler

NEW YORK — Bill Irwin seems to have a hand in everything and his hands on everything.

Within minutes in his dressing room at Studio 54, the restless actor has deftly picked up and put down an array of items, using them to illustrate whatever’s on his mind and leaving a visitor to wonder whether it would be fun to watch him clean an attic. He conducts a tour of his “suite”; demonstrates a hand-held shower attachment he’s rigged to a wall-mounted sink; reads the cards he received that week for his 59th birthday (here’s one from Mom and Dad in California!) and strums a ukulele he uses as a stress-buster.

When he eventually sits down to talk about his role as Vladimir in Samuel Beckett’s “Waiting for Godot,” he straddles the chair backward.

Dubbed the “Clown Prince” on PBS, Irwin is a performer whose magic touch for mixing it up has led to film (most recently as the tender father of the bride in “Rachel Getting Married”), television (“Sesame Street’s” Mr. Noodle) and live performances of his own creation (“The Regard of Flight” and “Mr. Fox: A Rumination”). His career training took place in sawdust-filled rings, under tents and on streets rather than in a high-minded arts conservatory.

A honed sense of comic timing and an agility with pratfalls and props serve him well in Anthony Page’s Broadway staging of Beckett’s allegory, which features another New York theater wiseguy, Nathan Lane, as Estragon. The revival by Roundabout Theatre Company opens Thursday.

Seriously, folks, “Waiting for Godot” has its laughs — but the 1950 work concerns man’s endless search for hope and self-affirmation in a meaningless world. It’s rife with circus imagery and references, such as Estragon and Vladimir’s hobo rags and bowler hats, and the “ringmaster” character of Pozzo. One scene, in which Lane and Irwin repeatedly and nimbly switch identical bowlers, is taken straight from vaudeville.

“It’s the strangest play and it’s been judged a classic. But it’s still got an outre reputation,” Irwin says. “It’s more Benjamin Britten than it is ‘Tosca.'”

“It’s mystical even to us. But there are great conceits in it, like Nathan’s character is obsessed with his feet and me with the hat. It’s just a great gag. If you were doing circus or vaudeville, you’d come up with that.” (He jokes that the bowler-swap usually goes on “until Nathan decides it’s over.”)

Irwin returns to Broadway toting a 2005 Tony Award for his turn as George in Edward Albee’s “Who’s Afraid of Virginia Woolf?” but says he’s been “flogging this idea” of reviving “Godot” for years. He’s had the itch to play Vladimir since at least 1988, when he took the part of Lucky opposite Steve Martin and Robin Williams in a Lincoln Center production of “Godot” directed by Mike Nichols. Since much of Irwin’s stage work up to that time was silent, Lucky’s only speech — a 500-word, nonsensical monologue — was the equivalent of “Garbo talks!” to theater cognoscenti.

“I’ve been talking the last few years about the play being seen on a Broadway scale,” says Irwin, picking up one of his half-dozen dog-eared “Godot” paperbacks. “You don’t need to protect this play; it will be around a long time, but it’s usually seen in a small venue.”

“Waiting for Godot” invites any number of interpretations, most often concerning its religious, political and Freudian overtones. “I think any three theater people could look at it and see three different plays,” he says.

But Beckett wasn’t about to enlighten him, even face-to-face. The actor recalls nervously waiting to meet Beckett in a cheap hotel lounge in Paris. The author, nearing the end of his years, lived across the street but was extremely private; Irwin, starstruck, was soon to begin rehearsals as Lucky and was seeking guidance.

“He, true to form, did not really want to talk about the play,” Irwin says. “So I was incredibly shy and he was a shy man and I was petrified. I looked mainly at his hands; we avoided too much direct eye contact and we ended up talking about Northern Ireland and politics and ‘sport,’ as they call it.

 

Click here to read the full article: http://www.nj.com/entertainment/arts/index.ssf/2009/04/bill_irwin_relishing_the_role.html   

WAITING FOR GODOT’S LANE AND IRWIN IN NY MAGAZINE

Roundabout Theatre Company’s WAITING FOR GODOT is playing at Studio 54 on Broadway

 

New York Magazine

April 27, 2009

http://nymag.com/arts/theater/features/56149/  

Laughter in the Dark

Bill Irwin and Nathan Lane on their long wait to play Godot

By Boris Kachka

 

Samuel Beckett’s Waiting for Godot is notorious for its split personality-a howl in the wilderness and a buddy comedy, owing as much to Buster Keaton as to the notion that every man is alone in the universe. So while the West End currently features a knight (Ian McKellen) and an O.B.E. (Patrick Stewart) in the roles of the homeless tramps, Broadway went the other way, with two infamous clowns: Bill Irwin, veteran of the Pickle Family Circus (as well as a recent Tony-winning turn in Who’s Afraid of Virginia Woolf?), plays Vladimir; Nathan Lane, Tony-winning star of The Producers, among other musical comedies, plays Estragon. (The production also features John Goodman and John Glover.) Godot‘s U.S. premiere in Miami Beach in 1956 failed miserably after being billed “The Laugh Sensation of Two Continents,” but times change, and this production fully embraces the comedy within the tragedy. Lane and Irwin do know their way around some silly banter, and yet they are dead serious about a play they’ve long revered.

 

[To Irwin] Is it true you have a trampoline in your dressing room?
BILL IRWIN: That doesn’t really describe it. It’s more a little pad that allows you to jog in place.
NATHAN LANE: I thought we were going to hear about bedroom antics. You still have the trampoline and the mirror over the bed?
BI: We have some old photographs of that.
NL: Yes, I saw them on YouTube.

 

The production is in the old Studio 54. Did either of you go dancing here?
NL: I went once. It was a birthday party for Eddie Murphy. All I remember is that it was very dark, and I didn’t feel comfortable, and at one point I walked into a table and knocked over a bottle of Champagne, and this very large man stood up, and it was like a scene from a silent film. I said, “Oh, I’m sorry,” and he said, “You’ll be paying for that.” And so it wound up costing me a couple of hundred bucks.
BI: It confirms me in my decision not to have ever gone.

 

So which of you first wanted to make Waiting for Godot happen?
BI: After doing Virginia Woolf, I made a pest of myself going around saying, “What about Waiting for Godot? And people would tend to nod, but it was a hard thing to bring it to fruition. When it became a conversation with [Roundabout artistic director] Todd Haimes, Todd lit up. He said, “The Roundabout has never done a Beckett play of any kind.”
NL: The moment they said Bill was involved, I said yes, absolutely. A long time ago, we had discussed doing this play.

Together?
NL: No, we were urging each other to do it with other people. Yes, we wanted to do it together!

 

I’ve read that you put up a scene from Godot in high school.
NL: Well, for some reason I felt compelled to do it in the high-school cafeteria. Another student and I did a scene from Godot and a scene from Inherit the Wind.
BI: Dig those choices!
NL: We did the “All the dead souls” section, and they were very quiet. No screams of “You suck” from the back.

 

Were they eating at the time?
NL: No, it wasn’t dinner theater. As a kid, I loved Godot because of the poetry and the humor and the strangeness, but then as you get older, it’s much more resonant. It’s not so absurdist. I realize that these are the conversations I have every day. “What do we do now?” “Let’s go, yes.” “Did that all happen yesterday?”
BI: Actors tend to be haunted by this play in one direction or the other. Either they have no desire ever to have anything to do with it, or it’s on your list of things that drive you.
NL: Yeah, the number of people who tell you “I hate that play,” or they threaten you with “I might come, because of you, but I don’t know.” Elaine Stritch said to me, “Oh, Nathan, if that play isn’t funny, it’s one long fucking night in the theater.”

 

Click here to read the full article and view the original portrait: http://nymag.com/arts/theater/features/56149/