Irwin finds and conveys, analytically and in his flawless and evocative renderings, how that transfixing elusiveness of meaning comes through in that lilt of Beckett’s writing. But what is so great about Irwin’s approach, both in analysis and performance, is to reveal the innate mystery in Beckett’s writing that makes it so intoxicatingly elusive and compelling. As rendered so fluidly by Irwin’s delivery, the sheer intoxicating quality of Beckett’s words clearly comes through, though they frequently don’t deliver immediate linguistic coherence. While acknowledging Beckett’s dual linguistic commitments – to English and to French – Irwin captures, particularly in some of the passages from Texts for Nothing what that Irish lilt is about. Ultimately, Irwin’s wonderfully thoughtful commentary and sheer expertise as a clown join with this sense of intimacy to deliver a superb and compelling performance.Įarly on, Irwin gives a beautiful analysis and example of the Irishness of Beckett’s prose. The performance is so well conceived and put together that the enormous amount of effort clearly required to construct it does not intrude upon this sense of immediacy and informality. Irwin approaches Beckett and these selections with a warmth and intimacy that makes the audience feel as though he were just chatting, though it is clear that he has crafted this exceptional performance with immense attention to detail. Several of them are from Texts for Nothing (1950-1952) a collection of multiple prose pieces, from Beckett’s novel Watt (1953), and several from Beckett’s great play Waiting for Godot (1952). This unique performance by the wonderful Bill Irwin is built around readings from a number of works by Samuel Beckett.

A stupendous performance by the brilliant mime and actor Bill Irwin who leads a scintillating tour through works of Samuel Beckett, illuminating them with incisive commentary and hysterically funny clowning.

Waiting for godot robin williams