Alan Mandell, a distinguished actor and director known for his deep commitment to the works of Irish playwright Samuel Beckett, died on October 13 at his home in Los Angeles. He was 98. His son, Peter Mandell, confirmed his passing.

Mandell’s career spanned several decades and multiple roles in the theater world. He was recognized primarily as an authoritative interpreter of Beckett’s plays, often involved in productions that explored the playwright’s signature themes of absurdity and existential quandary. He notably played Estragon in a 2012 production of “Waiting for Godot” at the Mark Taper Forum in Los Angeles, receiving praise for his nuanced, physically expressive performance even in his eighties.

Mandell’s introduction to Beckett’s oeuvre began in the mid-1950s when, as business manager of the Actor’s Workshop in San Francisco, he received a copy of the “Godot” script from co-founder Herbert Blau. Although initially perplexed by the play, Mandell soon became immersed in the delicate balance of Beckett’s work, participating in early performances that helped cement the playwright’s reputation in American theater.

In 1957, Mandell was instrumental in staging a groundbreaking performance of “Waiting for Godot” for an audience of about 1,000 inmates at San Quentin State Prison. The production adhered to the prison’s restrictions—no women performers and minimal set changes—making Beckett’s spare staging a natural fit. This performance was met with enthusiasm inside and outside the prison community; the positive review in the prison’s newspaper became one of Beckett’s favorite accolades, according to Mandell. He later assisted in the formation of a prison drama workshop, fostering theatrical engagement among inmates.

One of the prisoners, Rick Cluchey, embraced Beckett’s works fully, eventually becoming a paroled actor and Beckett protégé. Cluchey and Mandell worked together on a Beckett play directed by the playwright himself. In the Dublin production of “Endgame,” Mandell portrayed Nagg, the legless father confined to an ashcan, while Cluchey played Hamm, the blind and paralyzed son. Mandell recalled Beckett’s minimalist director’s guidance during rehearsals, emphasizing the playwright’s elemental and restrained vision for his characters.

Born Albert Mandell on December 27, 1927, in Toronto, he later adopted the name Alan in 1968. Mandell’s early years were marked by an early passion for acting, performing on radio and in theater companies in Toronto. He moved to San Francisco in 1954, initially to visit family, but his path soon led him into the burgeoning regional theater scene.

Over his career, Mandell held managerial and artistic roles in various theater companies across North America, including the Actor’s Workshop in San Francisco, the Repertory Theater of Lincoln Center in New York, and theaters in Toronto. His work earned him critical acclaim and several Ovation Awards, including for performances in plays by Joan McClelland Glass, Harold Pinter, and Arthur Miller.

Mandell’s influence extended into the 21st century. Actors preparing for the 2025 Broadway revival of “Godot,” including Alex Winter and Keanu Reeves, sought his expertise on understanding and performing Beckett’s dialogue and philosophy. Winter described Mandell’s counsel as emphasizing humility and natural conversation over theatrical excess.

Mandell is survived by his daughter Olivia Shullman, three grandchildren, his brother Jerry, and his son Peter. His wife, Elizabeth (Heller) Mandell, an arts patron and gallery owner, died in 1997. Throughout his life, Alan Mandell remained a tireless advocate for Beckett’s enduring work and its capacity to engage audiences across generations and circumstances.