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Winnipeg’s Shakespeare in the Ruins Delivers a Stunning Double Bill of Macbeth and Waiting for Godot
This June, Winnipeg audiences have been treated to a rare theatrical experience — two masterpieces that couldn’t be more diametrically opposed in tone, style, and outlook, performed in repertory by Shakespeare in the Ruins at the atmospheric Trappist monastery in Saint Norbert. On one hand, Macbeth is a gripping tale of ruthless ambition, power, and descent into madness. On the other, Waiting for Godot offers a stark, existential meditation on time, meaning, and the human condition, propelled not by action but by the endless waiting and uncertainty that defines the play. These contrasting works have captivated audiences through early July, offering a deep dive into vastly different theatrical worlds.
A Season Like No Other, Despite the Elements
Rodrigo Beilfuss, artistic director of Shakespeare in the Ruins and director of Waiting for Godot, reflected on the unique challenges of performing outdoors. “Usually we worry about thunder, lightning and rain. But this year the smoke was a… took out three shows so far. Just a lot, yeah. And storms a couple of other shows.”
Despite the weather and smoke forcing cancellations, Beilfuss expressed gratitude for the strong support. “We’re basically sold out, which means the support is there and people want to come and see these shows… It’s not the easiest place to get to. You know, there’s a commitment level and you’re outside in the elements and people are committing and coming and enjoying the show. So it’s been really special and very unique as a season on all fronts.”
One memorable moment highlighted the cast and crew’s adaptability when power was lost during a thunderstorm. “Our tech director used her car headlights to light the final sequences of the Scottish play. Apparently it was really atmospheric and really cool and one-of-a-kind show. You only get that at SIR.”
The Challenge and Joy of Repertory Theatre
Beilfuss praised the cast’s versatility in performing two such different plays back-to-back. “You see the same actors do two different shows within 24 hours… So to see how the actors are so adaptable and so expansive, that way is really, for me, the pleasure of the Rep experience.”
Waiting for Godot: A Life-Changing Experience
Cory Wojcik, who plays Estragon in Waiting for Godot, described the impact the play has had on him personally. “The summer has been life-changing… I’ve been saying to people, once you do Godot, it changes you. It’s just… I feel like I can do anything now because we spent so much time working on this and cracking the code that is this play.”
Wojcik acknowledged the play’s difficulty, comparing it to Shakespeare. “I think this is harder than Shakespeare.”
Despite the challenges, Godot has thus far avoided cancellations. “We haven’t had any problems yet. We haven’t been rained out… just drizzle, which adds to the show.”
Asked about the relationship between the two main characters Estragon and Vladimir, Wojcik likened it to a marriage: “It’s two people who have decided they’re going to stay together and try to work through life, and they fight and they love each other… They make each other laugh, and they make each other cry. And that’s what it’s about — life.”
Wojcik emphasized the hope beneath the bleakness of the play. “Amongst the nothingness there, what do we have? The connections with each other.”
Exploring the Characters: Pozzo, Lucky, and the Boy
Beilfuss discussed the dynamic between Pozzo and Lucky, noting the extremes of dominance and submission in their relationship. “There is a dominant and a passive sort of energy between the two of them, which is taken to an extreme with Pozzo and Lucky because one really is a slave.”
He pointed out the political and philosophical layers embedded in the characters: “Pozzo is the Italian fascist, Lucky is the American, and Vladimir and Estragon are the Russian and Greek philosophers.”
Beilfuss also praised Tom Keenan’s performance as Pozzo for bringing unexpected tenderness to a brutal role.
The boy who announces that Godot will not come is played by Wojcik’s son Mackenzie, adding a personal touch to the production. Wojcik shared, “There’s your kid... it’s great, and of course, I’m proud of him.”
The Role of Humor in Waiting for Godot
Wojcik explained that despite its existential themes, Godot has a strong comedic element. “It’s like a Laurel and Hardy show… That slapsticky, clowny element.”
He noted the play’s resonance in post-pandemic times: “It’s hitting different audiences in different ways… Some people laugh till they cry, some people cry.”
Beilfuss added, “It’s strangely comforting… It really touches on the nature of time and how we process it when systems collapse. The play asks, what do we do now?”
Performance Variability and Artistic Growth
Wojcik shared how every performance changes depending on the audience and mood. “The more you do the show, it changes and evolves in little small ways…But even when you hit a bad note, maybe it’s still gonna be okay.”
Beilfuss expressed a desire to keep exploring the play. “I wish we could go back into rehearsals… I thought we were just scratching the surface. This play is so elusive, so slippery as a text.”
Beilfuss reflected on Beckett’s skepticism of language and his minimalist style. “He stripped language away… The play is about the word ‘nothing.’”
He sees Godot as teaching audiences to face uncertainty with courage. “I hope people go, ‘I’ve seen the play, I can do this life thing.’”
Wojcik echoed this sentiment. “There’s comfort in its bleakness… in knowing that. Me and the most recognized person in the world share this thing of like, we're all just searching for purpose and everything else is just filling the time. And there's something, something that relaxes me about that that makes me go, 'It'll be OK.”
Final Thoughts and Ticket Information
As the runs approach their final week, Beilfuss confirmed tickets remain available. “There are some tickets left at shakespeareintheruins.com.”
Wojcik encouraged audiences to come experience the play’s rhythm and musicality. “There is music within this thing… It’s a dance.”
Shakespeare in the Ruins’ productions of Macbeth run until July 5th, and Waiting for Godot runs until July 6th. Don’t miss this unique chance to see two iconic plays brought to life in the stunning setting of the Trappist monastery.