A ghostly figure paces a bare strip of landing outside her dying mother’s room…
Three identical urns contain a man, his wife and his mistress…
In Footfalls and Play Beckett offers a bleak, yet tragicomic, view of human existence. Best known for works such as Waiting for Godot, Krapp’s Last Tape and Happy Days, this double bill offers a fascinating glimpse into the unique world of Samuel Beckett. His plays have revolutionised theatre and secured his place as one of the greatest dramatists of the twentieth century. He was awarded the Nobel Prize for Literature in 1969.
Previous Angel Theatre Company productions include: Can’t Stand up for Falling Down, Eavesdropping, More Eavesdropping, 4:48 Psychosis, No Exit, The Maids, Autobahn and Eavesdropping Again.
“Be sure you don’t miss out on this rare opportunity to see performances of Beckett’s shorter works.” The Beckett Centre
Press for this production
John Patterson directs with immaculate precision and we are immediately caught up in the intrigue of this love triangle, devoid of stereotypical melodrama and romanticised fiction… The company conveys a rapport which absorbs us into the worlds of these relationships, linked by their raw nature but different in mood and manner. Beckett pares his later works to the extreme, wasting no words and here we are compelled to hang on to his every one. ★★★★★ Spy in the Stalls
a really tight, superbly acted double bill designed not just to entertain but to provoke and make you think. London Pub Theatres ★★★★
The skill the players – Rose Trustman, Ricky Zalman and Samantha Kamras – display as they cope with the language is formidable… it is, because of Beckett’s use of language and the quality of this particular production, an evening to relish, to risk attending. I really do not want to wait for Godot one more time but I could sit through these two pieces again any time. ★★★★ Reviewsgate
it’s a feat of technical brilliance ★★★★ London Theatre 1
it is immersive thought- provoking theatre, superbly directed by Patterson and well acted by a vibrant cast. Bonnett’s May (Amy at one stage) is mesmerising as is the subtle use of light throughout (designed by Patterson and Karl Swinyard – following Beckett’s strict instructions – and operated by Francesca Coleman). All in all, a triumphant double dive into the absurdist world of Beckett, thirty years after his death. ★★★★ Close-up Culture