Beckett’s refinements were noted in the stage production, certain lines dropped, scenery curtailed (1980).

The direction is very attentive, to gestures, hands.

Martin Ritt’s analysis in Hud is more useful than anything that has been written about the play.

Hamm delivers himself of his prose and poetry recalling Mallarmé and Baudelaire. Clov lingers, Nagg does just that, Nell brings to mind Wilde’s joke about Dickens. The boy who stopped the show in Waiting for Godot has the choice.

It is all the same to Hamm.