REVIEW Krapp’s Last Tape – York Theatre Royal

Never have I ever experienced such total and complete, pin-drop silence throughout the entirety of a play. Indeed, even before the lights dim there’s an absolute hush throughout the York Theatre Royal auditorium. Samuel Beckett’s Krapp’s Last Tape marks screen superstar Gary Oldman’s return to the stage, in the theatre where he began his career. The air of expectancy is palpable. Unsurprisingly, the sold out crowd have high hopes for their ‘star’.

In his shambolic study, under the piercing beam of an overhead lamp, 69 year-old Krapp sits at his desk. He scrabbles through the collected detritus until he finds box three, spool five,  a recording from 30 years ago. One of a raft of tapes he has, tapes he has recorded every year on his birthday.

So begins Krapp’s ruminations on his 39 year old self. The script is sparse, famously only nine pages long including stage directions. We move between the taped reflections and Krapp’s live dialogue – at times vague, at times vividly evocative. He scoffs at his idealism, winces at his arrogance, reproaches himself at the actions that led him to lose his chance at love. On reflection, the years and the passage of time, have not been kind.

Questions will inevitably be asked if Oldman is deserving of the plaudits he frequently receives. This is a play of stillness, a performance from Oldman of tiny, often minute detail, and yes, he’s as good on stage as he is on screen. Krapp’s Last Tape proves Oldman to be one of the finest actors this country has ever produced. Hopefully, his next stage outing won’t be too far away.