![]() ![]() “I’m just throwing that out,” pressed Roberts, before planting a stagey kiss on her. When she introduced him as the creator of CBS’ Mike & Molly, he quipped, “Which means I’m rich.” One lively bit was the exchange between co-presenters, actress/playwright Charlene Woodward and Mark Roberts. “It’s a fantastic, well-orchestrated excuse to be together and acknowledge each other,” said Waiting for Godot’s Armstrong. theater world), the night played out as a heartfelt, enthusiastic and often funny celebration of the L.A. ![]() Except for one noticeable bump in the road (a Siguenza routine - cape, mask and all - that attempted to draw laughs out of creating parallels between Phantom of the Opera and the state of the L.A. The stage of the grand 2,000-seat movie palace, built in the ’30s and used mostly for special events and filming these days, was beautifully lit by a collection of antique and vintage floor lamps, chandeliers and other ceiling fixtures. ![]() Roston dedicated her award to her mother who had passed away over the weekend: “I know she’s out there kvelling right now.”Īnd The Convert, playwright Danai Gurira’s drama about colonialism in South Africa, which the Center Theatre Group produced at Culver City’s Kirk Douglas Theatre, picked up six awards: for director of a play Emily Mann, lead actress Pascale Armand, featured actress Zainab Jah, lighting designer (large theater) Lap Chi Chu, scenic designer Daniel Ostling and costume designer Paul Tazewell. Given the play's deep exploration of the absurd humor and feelings of alienation that arise from this nihilistic understanding of the world, one could say that Waiting for Godot is, at its core, about nothing.The bold move of doing the Broadway musical The Color Purple in a 64-seat house won six awards for the Celebration Theatre: for best production of a musical in an intimate theater, musical acting ensemble, choreographer Janet Roston, music director Gregory Nabours, director Michael Matthews and featured actress La Toya London. This seems to describe the world of the play, largely emptied out of meaning, emotion, and substance, leading to characters who blather on endlessly in insignificant conversation. Deriving from the Latin word for "nothing" ( nihil), it is a worldview centered around negation, claiming that there is no truth, morality, value, or-in an extreme form-even reality. Broadly defined, nihilism is a denial of any significance or meaning in the world. Audience members might at times feel uncomfortable and want, like Estragon, to leave, but are bound to stay, in case Godot should actually arrive later in the play.Īll of this waiting for nothing, talking about nothing, and doing nothing contributes to a pervasive atmosphere of nihilism in the play. Just like Estragon and Vladimir, the audience waits during the play for some major event or climax that never occurs. Beckett has deliberately constructed a play where not only his characters, but also his audience wait for something that never happens. The boredom of the characters on-stage mirrors the boredom of the audience. Both Vladimir and Estragon repeat throughout the play that there is "nothing to be done" and "nothing to do." They struggle to find ways to pass the time, so they end up conversing back and forth about nothing at all-including talking about how they don't know what to talk about-simply to occupy themselves while waiting. As a result of this endless waiting, both Vladimir and Estragon are "bored to death," as Vladimir himself puts it. Estragon repeatedly wants to leave, but Vladimir insists that they stay, in case Godot actually shows up. Vladimir and Estragon spend the entire play waiting for Godot, who never comes. As Beckett's title indicates, the central act of the play is waiting, and one of the most salient aspects of the play is that nothing really seems to happen. ![]()
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