Behind the laughter, those questions unveil what we all desire in our lives, the desire to be seen and recognized. It is often a question that precedes death as the eyes glaze over into a fixed stare. This question is layered within the many dimensions of existentialism, revealing the human necessity for validation that our time on earth has been well spent, that someone recognized our contributions no matter how great or small.

The work of playwright Samuel Beckett has often been described as elusive, enigmatic, and inaccessible to the general public. Yet on the contrary, Endgame, directed by Andrei Belgrader skillfully masters the nuances of wit and humor and utilizes both to confront the audience with the reality of death and dying.

Dying alone, a common fear, is the reality that lead character Hamm (John Tuturro) faces. The isolated Hamm sits regally immobile somewhere in between here and nowhere or between the tangible present vs. the unknown.

Hamm navigates his fearful despair by engaging in daily banter with his care provider, Clov (Max Casella). He pushes him away, out of sight, only to beckon him back with a whistle. The audience gets the sense that Hamm wants to reach out and hold Clov, and even demands “kiss me…will you not kiss me?” The moment is humorous and sad and is handled with precision by the exceptional cast under Belgrader’s direction.

The barren stage forces the audience to look into the characters and the sparse symbols in search of meaning. Why are Nagg and Nell in garbage cans? What of the impish Clov? And while Hamm’s clothing gives the appearance of prominence, how is it that he has been stripped of sight and movement, friendship and love? Why he is alone? While few people would admit that they identify with any of the characters, most can relate to the ever present themes of love, memory, reflection, happiness, partnership, the warmth (or absence) of human touch, and undying need for human purpose.

Anyone daring to face the theatrical deluge of life and human emotion should visit BAM to see Endgame. Belgrader’s direction is a nod to Mr. Beckett’s brilliantly dark (but not quite sinister), humorous (but not so much “funny”) construction of the human condition. Beckett moves the audience forwards and backwards, up and down, making them think while keeping them amused and, at times, bewildered. It is intellectual theater, it is existential. Endgame is an engaging performance that fully represents the chess game of life.

Endgame is showing at the Brooklyn Academy of Music in the Harvey Theater through May 18, 2008.