Roger Rees Quotes

I've played Beckett. I put on in the 1950s the first Australian production of 'Waiting for Godot.' I played Estragon. The most interesting conversation I've had about Beckett was with a Dublin taxi driver.

As a kid, I loved 'Godot' because of the poetry and the humor and the strangeness, but then as you get older, it's much more resonant.

Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.

I don't think there's been any writer like Samuel Beckett. He's unique. He was a most charming man and I used to send him my plays.

Discovering Samuel Beckett in college was a big deal for me. I realized you could be very funny and very dark at the same time.

Samuel Beckett. He is a kind of hero for me.

My favorite playwright is probably Samuel Beckett, and he was always laughing at the abyss.

The first play I saw was a Samuel Beckett play which was great.

All theatre is absurd.

If by Godot I had meant God I would have said God, and not Godot.

What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in the immense confusion one thing alone is clear. We are waiting for Godot to come

The one living playwright I admire without any reservation whatsoever is Samuel Beckett. I have funny feelings about almost all the others.

I think that Ionesco's greatest weapon is that he's able to make us laugh at the darkest corners of our souls.

My exposure to Beckett and to late O'Neill was probably important right at the time I gave up poetry and the novel.

I'd never done any Beckett before 'Krapp,' and I haven't done any of his other plays since. I've always felt that 'Krapp' is an autobiographical piece.

We grew up on Harold Pinter, Sam Shepard, Samuel Beckett. You're making something about men on the verge of a nervous breakdown, you're going to look to those guys.

I like going absurd pretty quickly. You don't waste any time when you're doing theater of the ridiculous.

Estragon: Nothing to be done.

Let's go." "We can't." "Why not?" "We're waiting for Godot.

I admire [Samuel] Beckett, but I am totally against him. He seeks no improvement.

I belong to that generation who, as students, had before their eyes, and were limited by, a horizon consisting of Marxism, phenomenology and existentialism. For me the break was first Beckett's Waiting for Godot, a breathtaking performance.

'I, Malvolio' is a very, very funny show, a clown show, but there is Beckettian darkness in the character. Some real darkness, some right close to the edge of despair moments.

I've always thought of absurdism as a French fad I'd like to belong to.

When I was 14, I saw 'Waiting for Godot.' It's one of those plays that if it's done badly is absolutely dire and can put you off acting for life. But I was laughing all the way through it.

Most Americans would agree that Plowshares is a Theatre of the Absurd.