Suzuki invented for his Farewell Cult Trilogy.²This relationship was then given

it's own production with WAITING FOR ROMEO (1992), a collage of various texts

in which a section of ENDGAME becomes central.

Previous to this, in Suzuki's 1991 production of MACBETH I created the role

of Seyton which had a large overlap with Clov, particularly in relationship with

Suzuki and Tsutamori's conception of an older Hamm-esque Macbeth. The

following summer the company created a piece called GREETINGS FROM THE

EDGES OF THE EARTH using the Macbeth-Seyton relationship as the focal point.

In this sampled-text production an exchange between Hamm and Clov from the

Beckett was included.

Returning to a more personal note; during the years that I was with the

Suzuki Company, my father was slowly succumbing to a dementia state which is

thought to be Alzheimer's disease.³

The year that I began at Columbia (actually the

very day classes began) my father moved into a nursing home because my mother

was no longer able to effectively care for him at home. My contact with him had

been hinting at something which I didn't fully realize until I reread ENDGAME in

the fall of my second year at Columbia. I could not get through it. The effect that the

play now had on my emotions was so strong that I would get to certain passages

and simply have to put it down.

The play seemed to approach much of what I was seeing as the unspeakable

that lay under the surface of modern life. I couldn't describe what the play was

"about" (except in very superficial terms), but it was clear that the play was about

both my personal inner life as well as what I saw happening in the world at large.

I was hesitant to approach ENDGAME as a thesis because I didn't feel "ready"