‘Waiting for Godot’ at the Theater of the NO
A novel addition to the city’s theatrical landscape has emerged, defying conventional norms. As the indoor Athens theater season draws to a close, the Theater of the NO offers a summer brimming with English-language productions, cerebral discussions and atmospheric music evenings.
Kathimerini attended the inaugural performance at the Theater of the NO, featuring their rendition of Samuel Beckett’s acclaimed work “Waiting for Godot,” helmed by director Nikos Dionysios.
Located downtown in the up-and-coming area of Metaxourgeio, the Theater of the NO came into being following the decision of writer and artist Yoel Wulfhart to establish roots in Greece after years in the theater industry in Philadelphia. “This is not merely a theater for tourists,” emphasized a spokesperson when queried about the venue’s raison d’etre. While tourists are certainly welcome, the theater aspires to engage a broader demographic.
Evident from both the cast and audience turnout for the premiere of “Waiting for Godot,” Wulfhart is dedicated to fostering an international milieu accessible to both Greeks and non-Greeks. The Theater of the NO serves as a platform for international performers, actors and audiences in Athens to engage in and explore cultural interchange.
The Theater of the NO offers a summer brimming with English-language productions, cerebral discussions and atmospheric music evenings
Beckett’s opus, originally penned in French and infused with his Irish heritage, remains timeless, grappling with profound existential themes.
The Theater of the NO imbues the iconic British bowler hat’s symbolism with a fresh perspective through its international cast; Comprising two Greeks, a Cypriot, a Canadian and a Colombian, the ensemble probes inquiries concerning existence, relationships, religion and class struggle. Audiences are treated to a thought-provoking dialogue on existential angst, culminating in optional post-show discussions.
Vasso Vassiliou, in the role of Gogo, captivates with her audacious portrayal, deftly rendering Beckett’s themes into digestible concepts, striking a delicate balance between humor and pathos. Gogo’s juvenile restlessness finds counterpoint in the serene and patient demeanor of Didi, portrayed by Canadian actor David Gilliam. The duo, teetering on the precipice between life and death, engage in rapid-fire exchanges that underscore the profound yet essential need for companionship.
The existential discourse is punctuated by the appearance of another duo steeped in disparity: the haughty and privileged Pozzo (George Housakos), and his hapless servant, Lucky (Anastasia Bougiaka).
Pozzo’s resonant baritone injects a dynamic element into the play’s auditory landscape, momentarily diverging from the existential margins. Lucky’s brooding silence gives way to a powerful monologue, during which Bougiaka entrances the audience with each irrational utterance, embodying her character’s internal turmoil with a spellbinding performance of that pivotal scene. A dream-like creature, embodied by Sebastian Puentes, exudes an enigmatic aura, intermittently injecting a glimmer of hope into Gogo and Didi’s futile vigil.
“Waiting for Godot” runs until May 13. For tickets, go to theatreoftheno.com.
