Waiting for Godot been blighted by a greedy ruling élite keeping the working classes passive and ignorant by whatever means." Vladimir and Estragon are often played with Irish accents, as in the Beckett on Film project. This, some feel, is an inevitable consequence of Beckett's rhythms and phraseology, but it is not stipulated in the text. At any rate, they are not of English stock: at one point early in the play, Estragon mocks the English pronunciation of "calm" and has fun with "the story of the Englishman in the brothel". "Bernard Dukore develops a triadic theory in "Didi, Gogo and the absent
Samuel Beckett in 1966. Billie Whitelaw worked with Beckett for 25 years on such plays as "Not I", "Eh Joe", "Krapp's Last Tape", and "Footfalls" and "Rockaby." She first met Beckett in 1963. In her autobiography "Billie Whitelaw...: Who He?," she describes their first meeting in 1963 was "trust at first sight". Beckett went on to write many of his experimental theatre works for her. She came to be regarded as his muse, the "supreme interpreter of his work", perhaps most famous for her role as the mouth in "Not I". She said of the play "Rockaby": "I put the tape in