Krapp's Last TapeWritten by Samuel Beckett
The Duchess Theatre, London (18/11/2010)
The story of an old man, alone and decrepit, bitter about but longing for his younger self by listening to the sound of his own voice. These are the bare essentials of Krapp's Last Tape. Painstakingly slow and strangely unsettling, the leading and only man onstage, Krapp (Michael Gambon) revisits his past by listening to his own taped diary entries.
The stage is virtually bare - just a desk with a single bulb above an old man's wiry haired head. Collapsed across the desk is Krapp. He remains there for so long that you begin to wonder whether the character is alive or dead. The silence is so unbearable you want to laugh. And this is how the first half of the play pans out. No speech, just Gambon as he moves about the stage as if witnessing it for the first time.
There are some hilarious moments with some bananas, as in a puerile and monkey-like manner, this old man finds some immature pleasure in the phallic fruit. Well.. don't we all! Gambon is magnificent in the role, creating incredible tension amidst the audience interspersed with moments of genuine laughter and others of something close to fear.
The performance is dark, with minimal light creating the sense of that inevitable darkness that will soon smother the ageing Krapp. The recordings of his younger self reveal someone more lively but almost equally troubled. As past and present play out in front of us, it's apparent that Krapp was doomed to become lost and alone. True to Beckett, you could say nothing happens in this short 45 minute performance. But you could also say that crammed into it, everything happens.
We hear a young man and see the old man that he has become and in that witness some 30 years of his life. And within that, we see the next 30 - his spools of tape evidently his last remaining comfort for a man stuck in routine, waiting for the lights to go out.
Please comment if you have anything to add to this review of 'Krapp's Last Tape'.
