Last week’s rant was supposed to be about the Corpus Playroom – encouraging all of you douchebags to get off your arses and see what theatre’s like at a more intimate venue. Unfortunately, last week’s show was a teeny bit gash, and so that was sort of stopped in its tracks.

But relax! This week, the rant can continue. Because this production was 100% definitely the best thing I’ve ever seen in Cambridge, and I can guarantee that it will 100% definitely be the best thing you see in Cambridge this term.

It’s a notoriously difficult play to put on – owing partly to Beckett’s arsey conditions for performance, but also to the fact that it’s a play that verges on the deliberately boring. And yet director Patrick Garety has worked wonders with what is, admittedly, a fairly good script (nice one, Samuel). The stage is almost bare, as Beckett demands (the directions read “A country toad. A tree. Evening.”), but somehow the whole show manages to appear fresh and interesting and – most importantly – funny.

Praise is due for the whole cast (all five of them). From Charlie Lyons’ wonderfully surly boy to Paul Coles’ sweat-drenched, magnetic Lucky, everyone played their part, and to as high a standard as I’ve seen in any Cambridge venue.

Special mention must go to the play’s three largest parts – Ben Kavanagh as Vladimir, Alex Lass as Estragon, and Simon Haines as Pozzo. Haines was impeccably chilling as Pozzo – veering from charming member of the gentry to brutal shitbag in a single expressive twitch; Lass provided some of the play’s biggest laughs with perfect comic timing; and Kavanagh delivered the single best performance this jaded wanker has seen for a long time – a ball of nervous energy, hands clenching, eyes flickering, all the while making new sense out of some pretty dense material.

I’m not normally this effusive. Please don’t take this as a sign that I’m all soft and mushy in the wake of Valentine’s Day. Instead, realise that this is me begging you to go to a truly slick, professional, and entertaining show, and rejoicing that the Playroom has finally put something on that does it justice. There’s only one must-see show this week, and it doesn’t feature a new translation or RSC-style face-shots on its publicity. Put simply, this is unmissable – rather aptly, it’s just what we’ve been waiting for. By George Reynolds