Waiting for Godot as a capitalist-aristocrat, and Lucky as labour-proletarian. This prompted Beckett to issue a rare statement, stating that the reaction was based on a misconception of the play. To Beckett, the play tries to not be able to be defined. The New York showing of the play was well-received with critics. Brooks Atkinson of the New York Times praised Lahr for his performance as Estragon. Waiting for Godot Waiting for Godot ( ) is a play by Samuel Beckett, in which two characters, Vladimir (Didi) and Estragon (Gogo), wait for the arrival of someone named Godot who never arrives, and while
Samuel Beckett of simplifying his style, a change also evidenced in "Watt". After World War II, Beckett turned definitively to the French language as a vehicle. It was this, together with the "revelation" experienced in his mother's room in Dublin—in which he realized that his art must be subjective and drawn wholly from his own inner world—that would result in the works for which Beckett is best remembered today. During the 15 years following the war, Beckett produced four major full-length stage plays: "En attendant Godot" (written 1948–1949; "Waiting for Godot"), "Fin de partie" (1955–1957; "Endgame"), "Krapp's Last Tape" (1958), and "Happy