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Dan Jemmett - Krapp’s Last Tape

  • Dan Jemmett - Krapp’s Last Tape
  • Dan Jemmett - Krapp’s Last Tape
  • Dan Jemmett - Krapp’s Last Tape
  • Dan Jemmett - Krapp’s Last Tape
  • Dan Jemmett - Krapp’s Last Tape
  • Dan Jemmett - Krapp’s Last Tape

Photo Mario Del Curto

From the very first moment that I started making theatre, I knew that I wanted one day to direct Samuel Beckett’s Krapp’s last tape. I first read the play whilst at University in London, and I had encountered Beckett’s writing a year or so before that when my father gave me a copy of his novel Murphy to read as a teenager. At that time, I saw the play as an incredibly precise Vaudeville routine, with the decaying Krapp as a bitter old clown obsessively reliving the lost love of his youth. I was startled by the emotional note that the play seemed to strike, somewhere between the melancholy for a time past, and a comically stoic endurance of old age. As my own years passed, I realised that I had not yet found the actor who would become my Krapp. From time to time I would try to imagine a certain actor I knew in the role, but I could think of no one who embodied both the physical precision and the mischievousness which I associated with the character. And then one day I discovered the theatre of Omar Porras, and more specifically the actor Omar Porras. Omar’s theatrical vision, both as actor and director, is anchored in an almost balletic and certainly absurd exactness of the body, which traces it’s lineage back to some of the great clowns of days gone by. I think he most puts me in mind of Max Wall, the English comedian and music hall performer who himself performed Krapp in the 1980’s. Living in South East London as a young man, I used to see the elderly Wall walking the streets of Blackheath or sitting drinking in the pubs there. I never saw his performance of Krapp, but used to imagine him with his distinctive walk disappearing upstage to open a bottle or slipping on a banana skin. Now, when I look at Omar Porras I like to imagine the same thing.

Dan Jemmet, Paris 2016

Tour dates

Dan Jemmett - Krapp’s Last Tape

mail Ask for the DVD of the show

"Krapp’s Last Tape"

From Samuel Beckett
Directed by : Dan Jemmett

Set decorator : Dick Bird
Light design : Arnaud Jung
Costume : Sylvie Martin-Hyszka
Makeup : Véronique Plüger
Set building : Christophe Reichel & Technical team of Théâtre Kléber - Méleau (Swiss)
Set painter : Noëlle Choquard
Sound universe creation : Emmanuel Nappey
Sound management : Nicola Frediani
Light management : Marc-Etienne Despland
Stage management : Chingo Bensong & Yvan Schlatter

With : Omar Porras (Krapp)

Production / Co-production

Production : TKM Théâtre Kléber – Méleau, Renens (Swiss), Les Monstres de Luxe, K Samka Productions
With the support of : Canton de Vaud, City of Lausanne, City of Renens and other municipalities of Western Lausanne (Swiss).

Presentation pack FR (pdf)      Press review FR (zip)      Technical rider FR (zip)      Photos high-resolution (zip)
mail Ask for the file of production with the Financial Terms

Tour dates

Opening 14 November 2017 - TKM Théâtre Kléber-Méleau - Lausanne (Swiss)
From 14 to 19 November 2017 - TKM Théâtre Kléber-Méleau - Lausanne (Swiss)
From 21 to 26 November 2017 - TKM Théâtre Kléber-Méleau - Lausanne (Swiss)
From 28 November to 3 December 2017 - TKM Théâtre Kléber-Méleau - Lausanne (Swiss)

Also touring

Link to Dan Jemmett - Krapp’s Last Tape
Krapp's Last Tape
- CREATION 2017 -
Clytemnestr@pocalypse (Part I)
(Part I)
- CREATION 2017 -
Measure for Measure - Dan Jemmett
- CREATION 2015 -
Macbeth (The Notes)
Macbeth (The Notes)
- CREATION 2014 -


"I am invisible"
Link to Dan Jemmett - I am invisible
Opening May 2018
Théâtre de Carouge
Geneva (Swiss)
Learn more

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Nathalie Fillion
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Link to Geneviève de Kermabon
Geneviève de Kermabon
Link to Pierre Pradinas
Pierre Pradinas
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Link to Shindô
A. Muller
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K Samka
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12 rue de l’Abbaye des Augustins
F - 24220 Saint-Cyprien

Tél +33 (0)6 11 71 57 06Tél +33 (0)6 11 71 57 06


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Performing arts Licence PLATESV-R-2020-011716

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