Reviews
"One of the true masterpieces of the century." --Clive Barnes, The New York Times "One of the most noble and moving plays of our generation, a threnody of hope deceived and deferred but never extinguished; a play suffused with tenderness for the whole human perplexity; with phrases that come like a sharp stab of beauty and pain." -- The Times (London) "Beckett is an incomparable spellbinder. He writes with rhetoric and music that . . . make a poet green with envy." --Stephen Spender "Reading Beckett for the first time is an experience like no other in modern literature." --Paul Auster "[Godot is ] among the most studied, monographed, celebrated and sent-up works of modern art, and perhaps as influential as any from the last century. The nonstory of two tramps at loose ends in a landscape barren of all but a single tree, amusing or distracting themselves from oppressive boredom while they wait for a mysterious figure who never arrives, the play became the ur-text for theatrical innovation and existential thought in the latter half of 20th century." --Christopher Isherwood, The New York Times, Praise for Waiting for Godot "One of the true masterpieces of the century." --Clive Barnes, The New York Times "One of the most noble and moving plays of our generation, a threnody of hope deceived and deferred but never extinguished; a play suffused with tenderness for the whole human perplexity; with phrases that come like a sharp stab of beauty and pain."-- The Times (London) "Beckett is an incomparable spellbinder. He writes with rhetoric and music that . . . make a poet green with envy." --Stephen Spender "Reading Beckett for the first time is an experience like no other in modern literature."--Paul Auster "[Godot is ] among the most studied, monographed, celebrated and sent-up works of modern art, and perhaps as influential as any from the last century. The nonstory of two tramps at loose ends in a landscape barren of all but a single tree, amusing or distracting themselves from oppressive boredom while they wait for a mysterious figure who never arrives, the play became the ur-text for theatrical innovation and existential thought in the latter half of 20th century." --Christopher Isherwood, The New York Times, "One of the true masterpieces of the century." --Clive Barnes, The New York Times "One of the most noble and moving plays of our generation, a threnody of hope deceived and deferred but never extinguished; a play suffused with tenderness for the whole human perpty&lexi; with phrases that come like a sharp stab of beauty and pain." -- The Times (London) "Beckett is an incomparable spellbinder. He writes with rhetoric and music that . . . make a poet green with envy." --Stephen Spender "Reading Beckett for the first time is an experience like no other in modern literature." --Paul Auster "[Godot is ] among the most studied, monographed, celebrated and sent-up works of modern art, and perhaps as influential as any from the last century. The nonstory of two tramps at loose ends in a landscape barren of all but a single tree, amusing or distracting themselves from oppressive boredom while they wait for a mysterious figure who never arrives, the play became the ur-text for theatrical innovation and existential thought in the latter half of 20th century." --Christopher Isherwood, The New York Times, One of the true masterpieces of the century." —Clive Barnes, The New York Times One of the most noble and moving plays of our generation, a threnody of hope deceived and deferred but never extinguished; a play suffused with tenderness for the whole human perplexity; with phrases that come like a sharp stab of beauty and pain." — The Times (London) Beckett is an incomparable spellbinder. He writes with rhetoric and music that . . . make a poet green with envy." —Stephen Spender Reading Beckett for the first time is an experience like no other in modern literature." —Paul Auster [Godot is ] among the most studied, monographed, celebrated and sent-up works of modern art, and perhaps as influential as any from the last century. The nonstory of two tramps at loose ends in a landscape barren of all but a single tree, amusing or distracting themselves from oppressive boredom while they wait for a mysterious figure who never arrives, the play became the ur-text for theatrical innovation and existential thought in the latter half of 20th century." —Christopher Isherwood, The New York Times
