You have to admire the moxy of a festival featuring productions of Godot in French and Yiddish, but none in English. Somewhere, hidden behind an enormous platinum edifice of craggy cheeked, ice cropped late Beckett, there’s probably a Krapp’s Last Cronut stand. I’m in Enniskillen, where the annual Happy Days festival has brought hundreds of performers together to celebrate the great man’s work, on stage, through music and readings, in exhibitions, installations, lectures and performances. But there’s no denying just how emotional the plays are, an aspect sometimes lost in onerously respectful staging. Beckett’s rejection of character in favour of the universal, of narrative in favour of the indeterminate, and of epiphany in favour of negative capability, are all off-putting. It’s hard to empathise with a man who helped Joyce finish Finnegan’s Wake. I’ve always been quite afraid of Beckett. No one writes like Beckett, his work is so readily identifiable, so iconic in popular culture, trivial to parody yet impossible to imitate. I could say that ‘like Beckett I write for radio’, but that would be ludicrous. Call it rebellious post-colonialism, call it rain-drenched nihilism, few cultures delight more in black comedy. Irony, the keen inversion of pain, the honest lie, is somehow key to Irishness, in Beckett’s time as today. In the savage mysticism of Alejandro Jodorowsky’s Holy Mountain, in the relentless self dissecting voice of Wallace Shawn’s Fever, in the humane grotesquery of The Singing Detective, in the domineering monsters so beloved of the Mighty Boosh. I haven’t seen nearly enough Beckett, but I’ve seen Beckett in everything. Beckett’s name evokes the grim surrealness of his imagery, seized upon by Woody Allen, parodied by the manically incongruous Pythons. Finally attending the play in college, only to find the staging dull as dishwater. Reading Godot in secondary school and finding it hilarious. I remember watching a BBC production of Happy Days in the wee hours of the 1980s. The festival was genuinely wonderful, and I hope my brief report goes some way to conveying why.
Little did they know I’m but a lowly scribbler, not some slick skinned journo-critter full of Celtic catnip. The festival organisers and tourism board of Northern Ireland were wildly hospitable (many thanks especially to Cathy Kapande, Kirstin Smith, Allie Crehan, and Sean Doran). Post not marked as liked 2023 by SociaLight.My latest report for RTE Lyric FM’s Culture File, took me ‘upstairs’ to the week long ‘ Happy Days‘ Samuel Beckett festival in Enniskillen.
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