The current Broadway revival at the Cort Theater of Waiting For Godot is never less than riveting. That's thanks to the extraordinary chemistry between Ian McKellen as Estragon and Patrick Stewart as a determined, upbeat Vladimir/Didi.
The pairing of No Man's Land with Godot is a stroke of genius, bringing the two masters of comedic and enigmatic incomprehension, Pinter and Beckett, to the stage in alternating performances that underscore the affinity between them.
In busy spells -- which in the Broadway arena typically include the two weeks before Thanksgiving and the month before the various award deadlines in the spring -- it is not uncommon for critics and award nominators to find themselves at five or six a week. Eighteen in 16, though, is overdoing it.
As I entered Sir Ian's dressing room, he was napping on the couch, wearing a backwards flat cap and mock Hawaiian paradise shirt that said, "Iraq," hinting at the lesser known comedic side of his personality.
Fine Scotch whisky flows freely in Harold Pinter's No Man's Land, always consumed straight, or as the British would say, "as it is." Even the sharpest of memories would turn fuzzy under such influence.