STOCKBRIDGE, MASS. – Clov can’t sit down. Hamm can’t stand up.
But that’s only the beginning of their problems.
They’re having a rough day over and over and over again.
Like the playwright’s better-known masterpiece “Waiting for Godot” Samuel Beckett’s “Endgame” is a hermetic loop, a closed-circuit of anguish, black humor and despair.

In Eric Hill’s production of the play for Berkshire Theatre Festival, Clov begins the action (if one can call it that) by continually moving a ladder back and forth between two dirty windows, opening the curtains to let the gray in and laughing hysterically, desperately while doing so.

That bit of stage business is a metaphor for the entire play, which, again like “Godot” constantly recycles itself to make its point.

Nothing happens in Beckett’s plays, but the humor carries a darker, deeper weight than “Seinfeld.”

In that fictional world when nothing happens, it’s cute. In Beckett’s when nothing happens, nothing happens.

“Endgame” is an examination of the dullness of routine and of the psychic pain we put ourselves and each other through.

It’s not an easy go, and what laughs there are smart; not simply entertain.

More than a few patrons walked out of Saturday’s opening performance, which is a sign of the still potent power of Beckett; and of their own ignorance to what they getting into when they bought tickets.

Hill’s production is enormously gratifying in its commitment to the play and the playwright.

Mark Corkins plays Hamm — blind, hard of hearing and demanding in addition to being lame. He plays the character loud and clear, often bellowing, often childish and always intense.

It’s a fine performance and it gives the play a gravitational center.

David Chandler plays Clov, and his opening sequence is a work of art unto itself.

The character is a footman, but Chandler gives him soul and his endless variations with Corkins’ Hamm gives the story its chess-like form alluded to in the title.

Corkins and Chandler are joined onstage by Randy Harrison and Tanya Dougherty as Hamm’s parents, Nagg and Nell.

This being “Endgame,” they spend the show in garbage cans — literally — their heads only appearing when called upon.

Harrison starred as Lucky in BTF’s previous Unicorn Theatre production of “Godot” and nearly stole the show.

His character doesn’t offer him that opportunity here, but he is again strong, exhibiting a clear understanding of Beckett’s rhythms and inflections. And, as with Lucky, the heart of his portrayal is a longish story that goes nowhere in many different directions at once.

Dougherty is properly winsome as Nell, but still a bit of a weak link in such a strong show.

Gary M. English’s stage set, framed by parts of broken chairs is perfect, and Charles Schoonmaker’s costumes, particularly Hamm’s opulent but dirty brocades, tell their own stories.

“Endgame” is not easy stuff, so if you’re looking for light summer entertainment, look elsewhere. But Hill knows how to make art from the difficult classics and theater fans should avail themselves of the opportunity now.


Endgame

Performance reviewed: 8 p.m. Saturday
Where: Unicorn Theatre, Berskhire Theatre Festival, Main Street, Stockbridge, Mass.
Running Time: 1 hour, 50 minutes; no intermission.
Continues: 8 p.m. Monday and Tuesday, and Thursday through Saturday; 7 p.m. Wednesday. Matinees, 2 p.m. Thursday and Saturday. Through July 24.
Tickets: $15-$44
Info: (413) 298-5576; http://www.berkshiretheatre.org