Krapp’s Last Tape theatre review: Lost in the silence
David Westhead brings a deliberate, outward-facing approach to Beckett’s tragic tale
Despite the confines placed on his work by the Samuel Beckett Estate, there is always room for manoeuvre. Which is why Krapp’s Last Tape has come in at anything between 30 and 60 minutes over the years (43 here), depending on who plays him. Those pauses make all the difference, and this production leans into them reasonably heavily. In fact, the show opens with two minutes of silence, as actor David Westhead stares aimlessly at the audience. It’s these moments of quiet, the facial responses to what he’s hearing on tape, and the tragic memories of former romances that make Krapp’s Last Tape what it is; not all of which is captured here.
There are myriad approaches to be taken with this devastating tale of love lost and chances squandered, and Westhead (in conjunction with director, and acting royalty, Stockard Channing) have chosen a very deliberate, outward-looking route. So while he is undeniably a fine actor, Westhead plays Krapp to the crowd, rather than as an inner monologue we’re merely observing. Which buys him some laughs, but other than the poignant moment when he hugs the tape recorder in place of the woman he once held, Westhead is never sufficiently lost inside himself to take us there, too.
Krapp’s Last Tape, Assembly Roxy, until 31 August, 1.25pm.