While They Were Waiting | Upstairs at the Gatehouse

While They Were Waiting, written by Gary Wilmot and directed by Sydney Stevenson, is a fascinating show that provides audiences with a pleasing, if peculiar, theatre-going experience. The show, naturally drawing comparisons with Samuel Beckett's famous play Waiting For Godot, manages to create a unique identity for itself with a satisfying conclusion. Co-starring Wilmot and Steve Furst, the play takes place in an unspecified location, for an unspecified amount of time, with both characters waiting for an unspecified event (for the majority of the play).

Hannah Davidson's spectacular set is well designed, creating a simultaneously foreign setting for the events of the play to unfold. A blue sky backdrop and four of the most fluffy clouds provide the setting with an ethereal feeling, whilst the many plants, rocks and cracked brownish-yellow ground helps to literally ground the play. A bench and wooden crates provide a little more insight into the play. The main focus is the weathered yellow door that sits on a raised platform in the middle of the stage. The set instantly reassures audiences that they're in for an exciting evening at the theatre. 

The play features two characters who are eventually revealed to be Bix and Mulberry, as they wait for something, or really anything, to happen after ringing the doorbell once. Mulberry is particularly determined, claiming that "opportunity" lies behind the door and that he is awaiting a friend to let him in. Bix is more evasive on his reasoning to be waiting, yet is the one who pulls Mulberry into conversation. The two men discuss a number of topics, including a long dive into the concept of waiting, with Mulberry divulging that waiting is actually a hobby of his. These conversations make up the majority of the play, with the conclusion neatly wrapping it up with a rather profound decision. 

The 90-minute, two hander play is a dialogue heavy play, with conversations often breaching themes that are deep and sombre. Whilst the pacing of the play keeps momentum going, there are certainly many topics that audiences members will go away investigating more, either on their own or with their companions. These discussions, however, do not really carry much significance, appearing more as a placeholder for the duration of their wait. This makes sense in the terms of the play, but for an audience who are increasingly baffled as to the point of the play, it can feel of little importance or even interest. 

Wilmot, evidently aware of the restless nature of an eager audience, attempts to combat this with the dynamic between the two very different personalities, a choice that works very well. Mulberry is a distinguished and more formal individual, yet delivers withering and witty comebacks that have the audiences laughing at every turn. Bix contrasts this with endless enthusiasm and a zest for life, as his inquisitive nature keeps the two men in constant conversation. The relationship between Mulberry and Bix is not unlike two siblings determined to wind the other one up, continually teasing and taunting one another. Their infuriating drive to call the other one out is hilarious, with a special nod to the loopholes in language and how vocabulary can be used to assist and sabotage a sentence. Wilmot's dialogue is clever, but the play can, at times, feel trying, as audiences crave something a little more to fill their wait. 

Simon Jackson's lighting design (as well as being the overall production designer) helps break up the otherwise monotonous nature of the dialogue with moments of varied lighting that range from washing of darker colours or spotlights. These help divide the show into scenes, despite there being no narrative to otherwise follow. Upstairs at the Gatehouse's very own artistic director Isaac Bernier-Doyle has provided sound design for the play, using a prop vinyl player to help infuse a sense of rhythm to the play and break out of the hefty dialogue as Bix enjoys the occasional moment of dance and movement. 

Wilmot and Furst are both highly capable performers and they really lean into their roles, providing an intensity and charm to both roles. Furst's no-nonsense attitude and rigidity is tested by Wilmot's natural warmth and charisma, creating a rich tapestry of strangers to friendship as they fall into a stimulating companionship. Furst's stage presence is magnetic, and audiences are eager to see unexpected new and exciting direction that Furst takes Mulberry in, whether it be hoisting an umbrella without a canopy, or imitating a whip. Wilmot, on the other hand, is less surprising but just as amusing as he goads Mulberry into discussing rhetorical subjects and challenging him to consider his stance on others. 

The play also leans into a cheeky meta nature as they frequently refer, and even address, the audience to "flies sitting on the fourth wall", before launching into a discussion about how plays need something dramatic to occur. Alongside this is a cheeky jab at the usual practices of an interval and applause at the bows, that are both amusing, as the audiences are caught off guard on both occasions. However witty these jabs are though, they act as a reminder of the passing time and audiences become even more impatient for the ending. 

The play works raises a number of questions and challenges the notion of what a play must contain. Along with several other fascinating discussions and a moving speech about human connections, perseverance and mortality alike, Wilmot has created a play that contradicts the rules and creates a play that boasts of impressive individuality. However, the runtime of 90 minutes does cause the play to feel as though it wears out its welcome.

While They Were Waiting is an enjoyable and unusual play that challenges audience expectations, creating a show that feels profound and moving, even if it's a long wait.

While They Were Waiting is currently playing at Upstairs at the Gatehouse until 22nd March - tickets and more information can be found here.

★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Simon Jackson