‘Waiting for Godot’ is a masterpiece performance in the history of ‘Napa repertory theatre’ and all the credit goes to the director Zia Mohyeddin, who is well known for his acting and voice quality. Play revolves around two hobos waiting for someone or something in a barren valley near a withered tree.
Two hobos, Estragor (Faris Khan) and Vladimir (Ali Hassan Junejo) are waiting for Godot, they clutch all the attention of audience through their ninny activities unless two more characters entered in the scene, one is Pozzo (Ameed Riaz) and his Servant Lucky (Fawad Khan). Lucky is pretending as a worthless slave who keeps on sleeping. A boy (Alia Moheyeddin) who appears twice in the show as a messenger of Godot is a symbolic character in play.
The only place in the show where one can feel the dogma of Godot is, when Lucky delivered a long monologue showing his wisdom and heartlessness, which makes audience clap.
According to the Author ‘“The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh.” (Waiting for Godot)
According to the Director ‘Zia Mohyeddin’, ‘Waiting for Godot’, a Tragicomedy, and one of the true masterpieces of the 20th century, doesn’t tell a story. It doesn’t have a plot that can be summarized in the form of narrative. This is a play unlike any other that you have ever cross.
Two seemingly homeless men wait for someone or something named ‘Godot’. They wait near a tree on a barren stretch of road, inhabiting a drama spun from their own consciousness. The result is a comic wordplay of poetry, dreamscapes and nonsense which has been interpreted as a somber summation of mankind’s inexhaustible search for meaning.
The play is a threnody of hope deceived and deferred but never extinguished.
The subject of the play is not Godot but waiting. The act of waiting is an essential aspect of the Human condition. Throughout our lives we always wait for something and Godot simply represents the objective of our waiting. Godot could be an event, a thing or death. “There is no escape from the hours and the days. Neither from tomorrow nor from yesterday because yesterday deformed us, or been deformed by us”, wrote Beckett.
In ‘waiting for Godot’, speech rhythms take their vitality not from poetic mepaphors but from the patter of music hall and circus. Beckett creates a situation in which boredom and the avoidance of boredom are the key elements in producing dramatic tension. The two tramp-clowns have to keep talking and playing games to keep the ever-looming silence nothingness at bay.
Throughout the play, Estragon and Vladmir weep, bleed, laugh, shout and yell, but never stop waiting for Godot.