We are all born mad. Some remain so. But what is madness? The inevitable wait for that which will not come? The yearn of tomorrow knowing that it will never truly be tomorrow because tomorrow will always be tomorrow? Skipping Druid’s production of Waiting for Godot at Shakespeare Theatre Company this spring? That last one borders dangerously close on madness if not sheer delirium. Directed by Garry Hynes this classical reincarnation of Samuel Beckett’s darkly humorous and dreary drudgery of a drama finds reanimation and breaths of new life in this potent production presented by Druid.
Something is taking its course. I don’t know how I feel today. There is no one else. There is nowhere else. It must be an absurdist cycle. Rapid Lemon Productions, under producer Max Garner, presents an evening of absurdism at The Motor House in the Station North Arts District of Charm City. A double-bill of two one-acts that are threaded loosely together in their absurdism roots, the classic Samuel Beckett’s Endgame is paired with the American premiere of Darren Donohue’s Voices in the Rubble.