Plymouth Theatre Review

Title: Krapps Last Tape

Venue: The House, Studio

Date: 29th May 2024

Overall Rating: 4

Samuel Beckett’s ‘Krapps last tape’ is a profound one act play, that delves into themes of memory, reminiscence, regret and the ever moving passage of time. This production glowed with the authenticity and believability that Beckett’s work demands and is a masterclass in the subtleties of acting and direction. 

The set design was simple, consisting of little props and set, while this sometimes hinders a production, I found the carefully picked props complimented the performance and allowed for focus on the narrative and acting, which was outstanding. Jacob Holley, as the sole actor in the play, expertly portrayed the character of Krapp with the intensity and evocative nuance that Beckett’s work requires. Holley played Krapp with a intensity and emotional depth that made the watching of the character (and his internal struggle) as interesting as the tape recordings themselves. You always run the risk with work that explores existentialism in such as way as Beckett that the work can become boring and uninteresting to watch, but I didn’t find this the case in this production, which is a testament to the skill of both Holley and Jim Coupland as director. 

The direction itself presented some interesting choices, with the tape player being a main focal point on the stage and a table decorated with just a glass and bottle of wine. I found an authenticity in this use of this, as I could relate to the contemplative character of Krapp and liked the idea of Krapp mulling things over and reflecting on his life experiences over a drink. The direction focused on the emotional turmoil experienced by Krapp, who remained mainly silent throughout. His thoughts were instead represented by the subtle but effective changes in facial expression and demeanour, Krapp’s reaction to the listening of his tape, and the interaction between Krapp and the props. 

The use of sound was also perfectly executed in this production. Its very rare in a review to have cause to mention the technical execution of a show |(in a positive light) – but I feel I would be doing a discredit to the amazing job the techs did here at making the playing of Krapp’s tape seamless and authentic. The recordings were played seamlessly with great attention to detail. When the button on the recorder was pressed there were no gaps or waiting for the sound to come on, which can often happen, and it it took me a second to realised that the sound wasn’t coming from the tape player itself, but was being cued in by the pressing of the button on stage. There were several sections where these cues picked up pace and I appreciate the great care that was taken here to make sure the sound was slick, on time and perfectly executed.

This production shone with its powerful introspection, deep emotional connection to character and the outstanding skills of Holley in his portrayal of Krapp. It stands as a strong example of the enduring power of Beckett’s work and the transformative potential of exceptional acting and direction.