Keanu Reeves burst onto the scene four decades ago with “One Step Away,” eventually skyrocketing to global fame in iconic franchises like “Bill & Ted,” “The Matrix,” and “John Wick.” Despite his immense success, critics haven’t always been so kind, often taking aim at his accents, delivery, and even his casting choices.
But for every detractor, there are those who’ve long recognized a profound depth in Reeves’s performances. They argue that his signature low-key demeanor, that iconic blank stare, and his distinctly ‘dude-like’ delivery weren’t flaws, but rather intentional choices by a truly excellent actor.
“It took seeing several of his performances to really grasp the unique, almost idiosyncratic nature of his acting,” explains Stephen Prina, a prominent advocate for this perspective. “There was always a sense of reticence, a deliberate withdrawal rather than a full disclosure.”
For those unfamiliar, Prina isn’t just any fan; he’s an acclaimed polymath—a musician, composer, and artist—who also happens to be a dedicated ‘Keanuophile.’ He can effortlessly recall specific moments from Reeves’s extensive career, which spans over 70 films.
Indeed, long before the 61-year-old Reeves recently made his commercially successful Broadway debut in Samuel Beckett’s “Waiting for Godot,” Prina himself gained a moment of notoriety. He delivered one of the earliest and most serious academic analyses of the actor’s craft.
This unique recognition stemmed from a 1994 seminar Prina taught at the ArtCenter College of Design in Pasadena, California. The course even captured the imagination of The New Yorker’s Susan Orlean, who famously described it as “twelve gnarly weeks of culture, sociology, anthropology, and philosophy.”
Adding a playful touch, Orlean joked, “Plus, there’s, like, a lot of homework.”
Thirty years have flown by since that memorable pass-fail course. Yet, the paths of Reeves and Prina have once again almost crossed, this time in the heart of midtown Manhattan. Reeves is currently gracing the stage at the Hudson Theater, while just nine blocks away, Prina is being honored with a three-month residency and retrospective at MoMA.
Prina, no ordinary fanboy, is a true connoisseur of both high and low culture. He effortlessly draws connections between Reeves and intellectual giants like philosopher Michel Foucault and sociologist Richard Sennett, alongside pop culture staples like Teen Beat magazine – all mandatory reading in his 1994 seminar. Prina theorizes, for instance, that aspects of Reeves’s early film acting were shaped by Bertolt Brecht’s concept of “alienation,” deliberately distancing the audience from overt emotional engagement in a performance.
“It was as if he were quoting the role,” Prina elaborated, “or perhaps, he already knew the inevitable outcome.”
Before the curtain rose for ‘Godot,’ the 70-year-old Prina shared with a reporter that his enduring admiration for Reeves began with the 1986 thriller ‘Rivers Edge,’ a film about teenagers grappling with a murder in their community.
Naturally, Prina enjoyed blockbusters like ‘Speed’ and ‘Point Break,’ and, like many, was a huge ‘Matrix’ fan. But his deep appreciation extends to less mainstream roles, such as the 1997 Kerouac-esque caper, ‘The Last Time I Committed Suicide.’ In that film, Reeves underwent a significant physical transformation, gaining over 200 pounds to embody a dissolute hipster.
“I saw it as brilliant casting,” Prina commented, “because it perfectly captured the image of a golden boy who had utterly lost his way.”
Despite his meticulous analysis of Reeves’s acting, even Prina admitted his surprise when news broke of the actor taking on a Beckett play. Still, he was eager to witness Reeves’s interpretation.
“My reaction was, ‘Okay, you want to tackle that? I’m absolutely willing to join you on that journey and see what unfolds,’” he recalled.
And so, the esteemed critic did just that, attending a recent performance of ‘Godot.’ The play also features Alex Winter, known as the ‘Bill’ to Reeves’s ‘Ted’ from their iconic time-traveling film series (with rumors of a fourth installment). Reeves and Winter diligently prepared for their roles, delving into Beckett archives, consulting with scholars, and memorizing the playwright’s famously repetitive and enigmatic dialogue. Some lines, eerily, sounded as if they were written specifically for the duo.
“We should have thought of it a million years ago, in the nineties,” Vladimir, portrayed by Winter, tells Estragon, played by Reeves, early in the performance. “We were respectable in those days.”
Prina notes that his profound fascination with Reeves solidified in 1991 after seeing ‘My Own Private Idaho.’ In the film, Reeves portrayed a young hustler from a privileged background, earning strong reviews alongside River Phoenix in a screenplay that cleverly intertwined themes from Shakespeare’s ‘Henry IV’ and ‘Henry V.’
“Everyone rightly raved about River Phoenix’s performance; it was classic method acting, truly embodying the character,” he observed.
“However, I believe Keanu’s role was far more challenging,” Prina continued, explaining that Reeves was simultaneously navigating multiple acting styles. He delivered the role naturalistically, yet also infused Shakespearean lines with a distinct ‘valley-dude’ inflection.
“People unfamiliar with Brechtian theatrical techniques often mistake such strategic choices for bad acting,” he concluded. “But no, it’s a deliberate artistic decision.”
Reeves, for his part, issued a statement acknowledging that he vaguely recalled hearing about Prina’s 1994 class. However, he admitted he hadn’t yet had the chance to see Prina’s own artistic output.
He added with curiosity that he “will definitely check them out.”
Critical reception for the Broadway production has been a mixed bag, yet many reviewers have consistently praised the enduring camaraderie between Winter and Reeves.
Surprisingly, for a play steeped in existential dread about two melancholic clowns caught in an endless loop, this particular ‘Godot’ offers moments of unexpected warmth and tenderness, including heartfelt hugs. A much-discussed highlight in the second act features Vladimir and Estragon’s spontaneous air guitar rendition, a clear nod to their Bill & Ted days—a moment Prina thoroughly enjoyed.
“I imagine the purists are absolutely losing their minds over that,” Prina chuckled, referring to the air guitar scene. “But I thought, why pass up such a perfect opportunity? You certainly won’t find that in any other production of this play.”
Prina himself has a history with experimental performance, having played for a decade in the punk band Red Krayola. His own work includes a recent revival of ‘Beat of the Traps’ at MoMA in September. That particular show also possessed a surreal, Beckett-esque quality, featuring wailing hard-rock drummers and an elderly vaudevillian adorned in green sequins.
Following the final curtain call for ‘Godot,’ Prina revealed he needed a day or two to fully form his thoughts. His eventual critique, as expected, was meticulously considered, even drawing parallels to Arnold Schoenberg’s opera, ‘Moses und Aron,’ when discussing ‘Godot’s’ Christian undertones.
While generally appreciative of the production, stating it had “much to recommend,” Prina expressed continued admiration for Reeves’s remarkable ability. After decades of diverse and often celebrated roles, Reeves consistently manages to exceed public expectations.
“That element of surprise, how he consistently appears in such varied and unexpected contexts, is no accident,” Prina asserted. “It’s all part of a cohesive artistic vision.”
