Picture courtesy of the Royal Court Theatre

Beckett is a master of metatheatrics. His dramas are as much about the concept of theatre itself – and the subversive act of watching them – as they are about anything else. So he would approve, I think, of the artistic choices the Royal Court has chosen to revive the single-act one-hander Krapp’s Last Tape , which first graced its stage in 1958, as the curtain-raiser to the English-language performance of Endgame . The curtain-raiser this time is a short new venture into the Waiting for Godot universe by Leo Simple-Asante, winner of the Royal Court’s Young Theatre Award, which invites us to imagine quite what was holding up Beckett’s evasive eponym.…