Review by Eloise Robertson
David Westhead is faultless in Krapp’s Last Tape, his performance every bit as characterful – feel of cheek, yet heartfelt – as Beckett intended. The second the audience entered, Westhead’s challenge begun: to get us intimately used to the character, engaged by all his inane peculiarities, in just 50 minutes. Accomplishing this is Westhead, and director Stockard Channing’s, feat; none could leave that room without a real soft spot for Krapp.
This immediate understanding of Krapp was certainly bolstered by the insightful set, forming a characterful backdrop to Krapp’s brilliant busy bodying. Wandering on and off stage – an awkward necessity of any Fringe run with minimal set – has never seemed so natural, but Westhead was as comfortable as if it were really his home. Over the silent first five minutes, Westhead brought out the teasing nature of the show; teasing us about when he’ll first speak and what he reads off the notes.
The result was, when he finally spoke, he was met with utter captivation by the audience. What a blessing this was for us all, given the richness of Westhead’s voice; at every point cutting clearly to the emotional meat of the line. This paired wonderfully with his self-reflective laughter at the tape, brilliant in its distinction from his younger self. It was the laugh of a wizened, nostalgic man; a laugh that was itself imbued with the grateful sigh one gives a witty joke.
The triumph of this performance was that moments of intensity, whether nostalgic longing or aggravation, never felt sudden nor forced. Channing and Westhead deserve great credit for so charmingly introducing Krapp to us over such a short time; he is marvellous to know and recognise.
Marvellous
Krapp’s Last Tapes runs Venue 139, Upstairs at Assembly Roxy at 13:25
Running time – Sixty-five minutes
Review by Eloise Robertson (contact@corrblimey.uk)
Eloise is studying her fourth year of a Philosophy degree at University of Edinburgh, but she spends far too much time costuming student shows and writing opinion pieces for The Student. Since returning from her year abroad in Australia, she’s worked Bedlam Fringe and thrown herself back into Footlights and EUSOG by costuming both their main term shows. At the same time, she’s increasingly found her true passion in writing, and will begin her Master’s in International/Human Rights Journalism next September.
Eloise is a lover of all things camp and comedic, so she’s super excited to review stand-up, clowning, drag, musical theatre, and much more! At the same time, she’s a literature nerd who loves to see a reimagining of a traditional, emotive piece; whether it’s a one man Vanya or unicycling Bottom.
