Krapp’s Last Tape at Barbican Theatre
Samuel Beckett’s 1958 play Krapp’s Last Tape is currently enjoying simultaneous revivals. While Gary Oldman treads the boards up in York, the Irish actor Stephen Rea brings his take on the role to London’s Barbican. This follows runs in Ireland and Australia. The actor teams up with former Royal Court Artistic Director Vicky Featherstone to place their own stamp on this unique 55-minute monologue. Waiting for Godot might be considered Beckett’s most famous play, but this is arguably the writer’s masterpiece and certainly him at his most autobiographical. There’s a reason why so many acting greats have been drawn to performing it over the years, with John Hurt and Michael Gambon being just two examples.
Every year on his birthday, Krapp records a tape recounting the events and experiences of the last 12 months. On his 69th celebration, he decides to listen to a tape from three decades ago, which allows him to compare the man he once was with who he is today. Interestingly, Rea recorded certain lines from the play 13 years ago in anticipation of perhaps one day performing this role. Their inclusion affords the piece authenticity and adds an extra layer to this musing monologue about the relentless movement of time.
Jamie Vartan provides a sparse set. Krapp’s desk is positioned centre stage, cloaked by complete darkness. When Krapp occasionally leaves the stage, a passage of light guides him there. Is this evocative of his inevitable death or representative of past paths travelled and happier times experienced? As is typical with Beckett, there is great room for interpretation.
We open with a playfully drawn-out silent scene. Rea manages to tell us a great deal about how his character is feeling with just a flicker of an expression. It’s no mean feat to achieve this in a venue as expansive as the Barbican theatre. The actor goes on to pull open a comically extended drawer, which contains two bananas. Rea takes his time eating them, almost slides over on the peel, which he then dramatically lobs off stage. It’s Chaplin-esque and bemusing and showcases the fact that Rea and Featherstone enjoy extracting the comical aspects of the play alongside the more melancholy.
It’s also humorous to witness Krapp’s reactions as he listens to his younger self, that 39-year-old who was still fuelled by his idealistic views of the world and the future that lay ahead of him. When Krapp commences his new recording, we are regaled with numerous anecdotes, which feel pieced together like a collage as he ruminates over his past failures, missed opportunities and various regrets. Rea is often lost in deep contemplation, and we are often waiting for him to snap back to reality. Save for the opening banana gags and a few other moments of physical comedy, this is a very static affair. If one is prepared to embrace its quiet pacing and immerse themselves in Rea’s rather restrained and brooding portrayal, though, it makes for a genuinely thought-provoking experience.
Jonathan Marshall
Photos: Patricio Cassinoni
Krapp’s Last Tape is at Barbican Theatre from 30th April until 3rd May 2025. For further information or to book visit the theatre’s website here.
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