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Patrick Magee was Samuel Beckett’s close collaborator and friend who, through his monologues on BBC radio in the early 1960s, shaped the parameters of a generic Beckettian character. It has been estimated that these classic early broadcasts, taking place over a relatively short period, reached audiences far in excess of any of the other avenues available to Beckett at the time. Yet it has not been sufficiently understood that Magee’s performances emerge from a wide and shifting field of biographical, aesthetic, professional and economic forces. Magee’s distinctive realization of Beckett’s voices took place in a context of his sustained experiment with the nature and function of character across several media, and in what follows I want to think through the nature and consequences of this mobility. To do so I will focus on his career from 1958 to 1964, that is to say, from the small part he played in the first airing of Beckett’s play All that Fall on the BBC Third Programme, to the Royal Shakespeare Company summer season at the Aldwych in London, which featured Magee as the leading man in all four plays staged, including Beckett’s Endgame and Peter Weiss’ Marat/Sade.

Beckett, Sade, The Avengers : Patrick Magee and character acting in the 1960s