Cloaked, cowled figures wander in patterns to rhythm instruments

On a bare country road Vladimir and his friend Estragon wait in hope of salvation from a man called Godot. Their hope of salvation lies in Godot's arrival. While waiting they play games, entertain one another with vaudevillian tricks, question whether Godot will arrive and how they will benefit when he does. They are interrupted by the arrival of Pozzo (a land owner) and Lucky (Pozzo's slave). Pozzo questions their reasoning for waiting. Lucky performs a staggering burst of a monologue. Pozzo and Lucky exit, night falls and a young boy arrives and tells Vladimir and Estragon that "Mr Godot won’t come here today but he'll surely arrive tomorrow.” In Act two Pozzo returns but he is blind and Lucky is mute. Vladimir and Estragon continue waiting. Still determining to go, the tramps do not move.

“I cannot express how much this show means to me,” writes artistic director, Peter Reid. “It is undoubtedly the greatest show of the 20th Century and has revolutionised the fabric of theatre.”

On a bare country road Vladimir and his friend Estragon wait in hope of salvation from a man called Godot. Their hope of salvation lies in Godot's arrival. While waiting they play games, entertain one another with vaudevillian tricks, question whether Godot will arrive and how they will benefit when he does. They are interrupted by the arrival of Pozzo (a land owner) and Lucky (Pozzo's slave). Pozzo questions their reasoning for waiting. Lucky performs a staggering burst of a monologue. Pozzo and Lucky exit, night falls and a young boy arrives and tells Vladimir and Estragon that "Mr Godot won’t come here today but he'll surely arrive tomorrow.” In Act two Pozzo returns but he is blind and Lucky is mute. Vladimir and Estragon continue waiting. Still determining to go, the tramps do not move.

“I cannot express how much this show means to me,” writes artistic director, Peter Reid. “It is undoubtedly the greatest show of the 20th Century and has revolutionised the fabric of theatre.”

Written in English in spring 1972. First performed at the Forum Theater of the Lincoln Center, New York, in September 1972. First published by Faber and Faber, London, in 1973. First performed in Britain at the Royal Court Theatre, London, on 16 January 1973.