Brother Daniel is captured looking away from us with a slight smile at some unseen event. His face is young, handsome, charismatic and his yellow scarf of freedom stands out against his khakis. The poster for BROTHER DANIEL introduces the man with whom we will spend the next two hours. But this is not the man we meet.
When this new work opens, the titular character is a broken thing. The iconographic photo of him as a revolutionary leader is there onstage, above the bible. It is at the bedside in the small hotel when a visitor is shown to her room but the real man is collapsed on the floor of the stark, bloody cell. He has been there since the audience began filtering into the small space. Continue reading Brother Daniel→
The phrase “Waiting for Godot” has become part of the language since Samuel Beckett’s classic play was first performed in English in 1955. The phrase usually refers to absurdist or existentialist concepts and the interpretations of the play normally focus on these attributes. The play has been deeply and widely analysed and interpreted in a myriad of ways. The current production at Riverside Theatre, Parramatta, has given theatregoers an opportunity to experience this iconic play.
The lives of two seemingly homeless men, Vladimir (David Attrill) and Estragon (Errol Henderson), are examined in an indistinct location near a tree, as they divert themselves by clowning around, joking and arguing, while waiting expectantly and unsuccessfully for the mysterious Godot.