Happy Days at the Pitlochry Festival Theatre*****

Samuel Beckett is not for the feint-hearted. Regarded as one of the most influential and important writers of the 20th century, his plays, such as Krapp’s Last Tape, Waiting for Godot and Endgame, are nevertheless bleak and minimalist and belong to ‘the theatre of the absurd’.

They don’t get more absurd than Happy Days, in which Beckett places an actress up to her waist (and later her neck) in sand. Far from being bleak, however, we can’t help but share the joy Winnie still has of just being. 

It can’t be an easy part to play. Apart from the physical restrictions, Beckett’s dialogue is just a stream of consciousness, there is no rhythm. But Siobhan Redmond’s performance is a tour de force. She has us believing she really is encased in a sand dune in the sun, finding delight in every little thing, and never giving up.

What is even more absurd is the presence – or more often the non-presence – of her husband Willie. He seems to live in a hole and comes out occasionally to read the paper or do unspeakable things! If an actor is wanting to get his face – and his voice – known this is not the part for him. The role requires him, when he does appear, to sit with his back to the audience, while the rest of the time he is just grunting and groaning. It really is bizarre, but Forbes Masson makes the most of what he has to play with.

As weird as this play is, it is a satisfying watch, while Winnie’s joy at the little things in life is a breath of fresh air in our materialistic world.

Image: Tommy Ga Ken Wan

Happy Days is at the Pitlochry Festival Theatre until Oct 10

pitlochryfestivaltheatre.com