Director: Sandhano Schultze
Stage Manager: Ekta Nadeau

Director's notes:

Why 'Waiting for Godot' before Alice in Wonderland?

I was just editing a theatre version of Alice in Wonderland, when I realized that Alice was pure nonsense. My German mind turned on and a big question started to hang all over the work, 'How can I present a play made of total nonsense, doesn't it need an interpretation or a focus?'

Waiting for Godot explicitly illustrates the folly of life, and the senselessness (nonsense) of our lives. I am no longer interested as an artist and a human being in FINDING sense in my life or in the lives of others; at least not as far as we have defined sensibility to date. Who said things must be sensible?

'simply wait'

We were fighting like hell to give sense to the text of Waiting for Godot. The text kept being stubborn and we asked ourselves: Who wants to see such a dark play? Finally we laughed about ourselves, about the text and about life. Is life not a joke, even when we take it dead seriously? Why don't we have fun with all this nonsense?

At this point Alice in Wonderland emerges as a new land. The folly makes now sense, all is    . (no typographical error) So I invite you next Christmas to return and lay back in your chairs and enjoy Alice in Wonderland, 'while you wait'.

I personally want to mention that this was the first time that I worked with a whole male cast and I expected a very rude and raw time. It was amazing how beautiful and harmonious the rehearsals were. Whether it was the text or our love affairs, we shared ourselves fully and with respect. The subject matter of the play with all its built-in insecurities helped us to open up to one another.

Cast:
Estragon: Robert Wilson
Vladimir: Tim McGeer
Pozzo: Steven Lake
Lucky: Albert Sturm
boy: Simon Kaltenrieder