Theatre review: Krapp’s Last Tape (Barbican Centre)

Samuel Beckett can be a divisive writer, his plays offering a sense of absurdity and profundity that doesn’t appeal to everyone.

Krapp’s Last Tape, written in 1958 for Northern Irish actor Patrick Magee, is a one-act solo monologue, the twist being that much of the dialogue is recorded while the actor on stage reacts to it, and occasionally speaks.

Beckett allows little room for adaptation with his richly detailed stage directions. An actor taking on Krapp needs to have the maturity to work with silence and stillness – and draw out the word ‘spool’.

In this version from Landmark Productions, making its UK premiere after a run in Dublin, that actor is Stephen Rea, born in Belfast in the 1940s, and a veteran interpreter of Beckett’s work.

His stage presence and charisma, coupled with the clever lighting design, makes this 55-minute show a spellbinding experience. Krapp, as we see him, is 69 years old. Each year, he has recorded a tape, and this year, he goes back 30 years to listen to himself.

There is a desk with an impossibly long drawer, where Krapp finds two bananas he eats with strict precision and dry comedy. He shuffles off-stage periodically to retrieve items: a ledger, a stack of tape reels, a tape recorder.

Rea’s experience in life and acting is etched on his face. The lighting (by Paul Keogan) is dim, mainly, with the effect to capture the attention on the actor, his voice, his reactions, whether dryly laughing, mouthing a word his younger self seems to understand, or almost hugging the recorder as if to inhale the memories.

Beckett’s gift of wordplay is evident throughout Krapp. The earlier version of this man – Rea recorded the tapes 12 years ago on the chance he may be asked to play the role at some point – has the curiosity and vibrancy to do something with life.

The older Krapp knows all too well he only has his bananas, off-stage tipples, and the occasional visit of an ancient whore to keep him ‘alive’. It’s a tragic tale, made more potent by Rea breaking the fourth wall now and then with glances, and treating his former self with resigned derision.

Vicky Featherstone is the director for this production, a firm partner in this enthralling evening. Featherstone and Rea previously worked together on David Ireland’s electric Cyprus Avenue, and their trust in working together is very evident.

Krapp’s Last Tape is about love, life, and longing. With Rea – a deeply naturalistic actor who can find the rhythm, comedy, and hopelessness of the character – this Krapp can certainly claim a place amongst the greats.

Five stars.

Krapp’s Last Tape is at the Barbican Theatre until 3 May – details here.

Image credit: Patricio Cassinoni

Note – I will be reviewing the ‘other’ Krapp up in York next week!