When you hear the words Waiting for Godot, you might think ‘abstract’, ‘absurd’, maybe even ‘intimidating’. But walking out of the Theatre Royal Haymarket’s latest production, we were left feeling something entirely different – strangely moved, unexpectedly emotional, and quietly in awe. This isn’t just theatre that makes you think; it’s theatre that makes you feel, deeply, about things you didn't even realise you needed to.

The heart of the production really lies with the performances, and Ben Wishaw (Vladimir) and Lucian Msamati (Estragon) take Beckett’s iconic characters and breathe so much humanity into them that you almost forget they’re stuck in a loop of endless waiting. Their relationship on stage is something truly special; you really do feel like you’re watching two old friends who’ve been through the ringer but can’t imagine life without each other; it’s equal parts comedy duo and tragic figures.

Estragon’s world-weary demeanour, tinged with frustration, is constantly sparking off Vladimir’s more philosophical musings, and what could so easily be a cold, intellectual exercise (and let’s face it, Godot often is seen that way) becomes tender, funny, and – most importantly – real. The actors take you on a journey where absurdity meets something deeply human and through that journey you actually feel for them. In fact, you’re right there with them in their endless, meaningless waiting.

And then there’s Pozzo and Lucky. Pozzo’s almost grotesque presence (played brilliantly by Jonathan Slinger) is a strange combination of the ridiculous and the terrifying. Meanwhile, Lucky, with his haunting silence and sudden explosive monologue – which received its own, much-deserved, round of applause on press night – feels like a shattered soul dragged along for the ride. This production does an incredible job of making Pozzo and Lucky more than just odd caricatures; they’re weird and unsettling and even a little frightening. We weren’t sure whether to be relieved when they left the stage and we had our old friends Didi and Gogo back to ourselves or sad that they’d gone.

The set, at first glance, is so simple; there’s a single barren tree against a vast, too-open sky, and a strange moonscape for the ground. But that’s the brilliance of Rae Smith’s design because this bleak nothingness is the perfect stage for a story about waiting for something that never comes. The tree, the rock, and the dusty ground (there’s a lovely touch of dust being on the characters’ shoes – and bare feet – as well) all seem to symbolise time itself, slipping by just like the lives of the characters. The production doesn’t need flashy sets or effects, and the simplicity lets the themes of time, existence, and companionship breathe.

What makes this production truly stand out is its delicate balance between comedy and tragedy. The direction by James Macdonald brings out the humour in Beckett’s writing (because yes, Waiting for Godot is actually funny), in that dark, dry way that sneaks up on you, but the humour here is tinged with sadness and every pause feels heavy with meaning, even though nothing really happens.

So why is Waiting for Godot still such a powerful piece of theatre? It’s because this play, in its weird, abstract way, taps into something deeply relatable. We’re all Vladimir and Estragon at some point in our lives, waiting for something to happen, trying to fill the empty spaces, searching for meaning. What makes this particular production special is how it holds up a mirror to that feeling without ever giving you the answers.

***** Five stars

Reviewed by: Lisamarie Lamb

Waiting for Godot is playing at Theatre Royal Haymarket until 14 December, with further info here.