Estragon (Ian McKellen) and Vladimir (Patrick Stewart) wait by a tree in an unknown location at an unknown time for an unknown someone by the name of Godot. A stranger Pozzo (Simon Callow) and his slave Lucky (Ronald Pickup) pass through, a messenger from Godot arrives and leaves and then there's act two; a slight variation on what's just happened in act one. To all intents and purposes, Waiting for Godot - opening at the Theatre Royal Haymarket - is a "play in which nothing happens, twice" (Vivian Mercier, Irish Times, 1956). Still, watching McKellen and Stewart do nothing does perk up the prospect; lines like "Nothing happens, nobody comes, nobody goes. It's awful" will take on a witty, self-depreciating meaning. Of course, no one actually believes that "nothing" is what Beckett intended; academics have always thought that some essential truth about life and art is bubbling just beneath the surface and its 1955 London premiere marked a seminal moment in theatre history. Seeing such stage greats tackle Beckett's controversial work over 50 years on is surely worth waiting for.
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Estragon (Ian McKellen) and Vladimir (Patrick Stewart) wait by a tree in an unknown location at an unknown time for an unknown someone by the name of Godot. A stranger Pozzo (Simon Callow) and his slave Lucky (Ronald Pickup) pass through, a messenger from Godot arrives and leaves and then there's act two; a slight variation on what's just happened in act one. To all intents and purposes, Waiting for Godot - opening at the 
![English [Out There!]](/lycos/assets/MN089802_85x142.jpg "English [Out There!]")
