‘Godot is a Woman’ by Silent Faces is an outstanding display of political physical theatre and the impact it can have in today’s theatres. It challenges copyright laws and outdated gender ideals whilst playfully exploring the topics’ cultural significance. Since Samuel Beckett wrote Waiting for Godot, he and his estate have notoriously challenged – often legally – non-male companies that wish to perform it.
Josie Underwood, Jack Wakely and Cordelia Stevenson work incredibly well together as a trio. Their chemistry is unparalleled and the audience feels safe in their hands. Each movement has been carefully considered, using part clowning to emphasise the exact consideration. Jack Wakely’s facial expressions are hilarious throughout and could really create a performance of their own. Josie Underwood is totally in tune with her body, each movement is dance like, executed with elegance. Cordelia Stevenson is particularly articulate, her intelligence shines through in this performance and her delivery of dialogue really strikes a chord with the audience.
The writing is full of wit, intertwining aspects of Beckett’s work into the performance. The company strikes a balance of making a powerful statement whilst wriggling in absurdist elements. The journey of the feminist movement, paired with pop songs from all types of female identifying pop stars created a feel good empowerment. By switching up the ending and allowing the characters to leave the stage, the need for change in today’s climate was amplified, urging Beckett’s estate to move forward with the times.
The ending was raw, emotional and executed well by the actors. However, after the climactic ending of the court case it felt like additional time which may be perceived as unnecessary. The lead up to the ending can be described as cathartic chaos, although the idea is to celebrate it is unfortunately a bit out of place in terms of staging. The direction up until this point is clean and well considered, even during the court case the staging is still hilariously in tune with the rest of the performance which is why the ending stands out so much. The image of the characters leaving would induce a catharsis of it’s own.
‘Godot is a Woman’ shines a light on a new type of censorship with gender at it’s core. In a play with universally humanitarian themes why should gender be taken into account? This performance is extremely intelligent, turning Beckett’s work on it’s head, creating a well considered spoof that reflects major societal issues in the most playful way. Highlighting western influence on the labelling of gender and highlighting it’s binary is extremely powerful in today’s climate where hate is being spread at a painfully global level, inciting violence against the LGBTQIA+ community.
‘Godot is a Woman’ is touring! Check out if there’s a show near you here: https://www.silentfaces.uk/godot-is-a-woman
Ali Wright
Theatre Scotland 
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