Sumner Theatre, Melbourne Theatre CompanyThe former stand-up is a natural fit for the role of Winnie, a tragic woman attempting to stave off hopelessness in the face of great horror
urrounded by her trinkets – her bag, her toothbrush, her parasol, her revolver – she sits buried up to her waist in a mound of sand, the great symbol of blind optimism battered by the tides of existential despair. Samuel Beckett’s 1961 masterpiece Happy Days bequeathed us Winnie, theatre’s enduring tragic fool, and we’ve been grappling with her meaning ever since. Is she delusional or heroic, myopic or a kind of seer?On paper, the casting of Judith Lucy as Winnie seems counterintuitive.
Winnie prattles away about everything and nothing: “There is so little one can say, one says it all.” We soon realise that she isn’t quite alone, though. Her husband Willie lives in a hole in the mound, largely out of sight, as taciturn as she is loquacious. He is a strangely cryptic figure, a pantomime foil, largely there for Winnie to talk at. It certainly isn’t a marriage in any realistic sense; they are merely two people in close proximity caught in the “blaze of hellish light”.
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