Krapp's Last Tape

Burton Taylor Theatre, 7-11 June 2005

Krapp's Last Tape, by Samuel Beckett - better known for Waiting for Godot - employs a simple yet brilliant dramatic situation. Every year, on his birthday, Krapp has recorded his voice on tape, talking about his experiences that year, and setting down his thoughts and aspirations. Now elderly (indeed, on his last ever birthday, the title implies) he listens to his recording of thirty years ago; now angrily switching the tape off and insulting his former self; now listening with rapt attention

Having listened to his younger self, he records another tape, more bitter, unsure, and incoherent than the recording on his 39th birthday. He then listens again to a particularly meaningful and poignant episode that his former self describes: a lost moment captured by the mechanism of a tape player.

It's a moving, eloquent play, combining a melancholy poetry with a robust, black humour. It explores such weighty themes as loss, age, love, death and memory. Despite the absence of any action or dialogue - apart from Krapp's dialogue with himself - the play is gripping and artfully constructed, and engages one's attention throughout its relatively short span (less than an hour).

As a one-hander, the quality of the performance hinges, of course, on the actor playing Krapp. Aaron Costa Ganis is outstanding. Firstly, he has to overcome the challenge of a very young man playing an old man, without falling into comic caricature. He succeeds admirably: his mannerisms, gait and voice help us to suspend our disbelief and see an elderly man on stage.

In other respects also it is a compelling performance. Ganis invests even simple acts such as peeling and eating a banana with character and eloquence. He movingly expresses Krapp's sadness and loneliness, and also handles the play's moments of clownish humour well. He has a fine voice, rich and attentive to the poetry of the text, and the younger Krapp's recordings are a pleasure to listen to.

Credit goes also to the director, Griffith Rees, for his collaboration in such a well-judged, well-paced performance. The lighting and sound were well done and atmospheric, and costume, make-up and props were all just right. All in all, one of the best things I have seen at the Burton Taylor; a powerful experience that is well worth an hour of your time.

George Tew 8/6/05