Waiting for Godot: A Modern Take with Bill and Ted

So, here’s the thing. I just caught a matinee of Samuel Beckett’s iconic two-act play, Waiting for Godot, at the Hudson Theatre on Broadway. Afterward, I couldn’t help but reflect on Bill S. Preston, Esquire, and Ted Theodore Logan’s absurd escapade.

While I was, um, waiting for Godot, I found myself multitasking like I would during a break—going through those annoying spam voicemails about personal loans or tax relief.

Maybe that’s the vibe they were going for when they cast Keanu Reeves and Alex Winter as Estragon and Vladimir. The marketing approach makes sense. This revival feels a bit like an addition to the “Bill and Ted” adventure series, leaving you expecting Wyld Stallyn to make a cameo.

Plot twist: just like Godot, he never appears. Instead, we get a solid performance from Reeves and Winter as they capture the essence of Estragon and Vladimir quite well.

Unexpected Roles

It’s quite something to see someone like Reeves tackle the role of Estragon. Depicted as weak, not fully aware of his surroundings—sometimes wearing a single boot—constantly battered by thugs just offstage…

There’s no trace of John Wick or Johnny Utah in this performance, none at all. If the second act mirrored The Matrix, it would lack the red pill that liberates him or, affectionately, “Didi,” from constraints. Instead, it feels like they’ve both overdosed on something akin to blue pills.

“If I can’t share my nightmares with you, then who can I share them with?” Estragon asks, revealing a glimpse of vulnerability.

Winter’s Vladimir, while at times harsh with his buddy, still manages to show warmth through his gestures—offering hugs, sharing food, and reminding Estragon what their purpose is in waiting.

But why wait for Godot? That’s a question that lingers and remains unanswered.

Staging Choices and Setting

Director Jamie Lloyd made some intriguing choices, not just in casting but also in the sound design. Typically, the setting follows Beckett’s minimalist vision. The first act starts with the phrase, “Country Road, Tree, Evening,” followed by the second revealing a tree with a few leaves as time has passed.

Instead of bringing a tree on stage, Lloyd cleverly directed the actors to interact with an imagined tree in the audience. I could picture some back-and-forth like this:

Vladimir
…What should I do now?
Estragon:
Hang on.
Vladimir:
Yes, but while I wait.
Estragon:
How about hanging yourself?
Vladimir:
Hmm. It might give us an erection.
Estragon:
(very excited) Erection!

The action unfolds around a striking tunnel above the stage—think of it like a skate park kind of cool, which adds to the comedic elements. Picture Reeves barefoot, attempting to skate up a halfpipe before slipping and dozing off. The tunnel also serves as a clever way to manipulate sound during the performance.

The supporting cast shines as well. Just look at Brandon J. Darden’s portrayal of Pozzo, who is terrifying and harsh, particularly towards Lucky the Pig, played by Michael Patrick Thornton, who’s in a wheelchair. Surprisingly, Thornton actually uses a wheelchair in real life. Isn’t that an unexpected choice?—but it works well. A lucky break, perhaps?

A Blast from the Past

My first exposure to Waiting for Godot was back in high school. Thanks to Brother Jeff, the one Franciscan at our Marist school, who introduced my AP English class to a daunting reading list that included not only Beckett but also works by James Joyce and T.S. Eliot. Those explorations into the absurd aspects of life were maybe just a bit too much for me at that age.

Fast forward 25 years since graduation, and here I am still pondering over Godot. “For a long time, the gravedigger applies forceps.” Those words echo in my mind.

Entering the Hudson Theatre, I couldn’t help but wonder if they were going to give a nod to the “Bill and Ted” franchise—imagining them setting up shop in a Circle K parking lot where their time machine made its first appearance.

But nowadays, with no phone booths around, a more fitting version might involve Vladimir and Estragon texting each other, “There’s nothing to do 😢,” while they scroll through social media for two acts.

The Burden of Waiting

The theater’s Instagram shared a post teasing 2025, with a playful illustration of Estragon, Vladimir, and Godot in a group chat. Godot was portrayed as typing (check for the indicator), while everyone’s phone battery runs low. Quite the modern twist, considering the characters didn’t have smartphones.

This play brings a wave of nostalgia. Beckett’s work is over 70 years old, but the essence remains, especially when the protagonists were once teenage heartthrobs back in the day, yearning for something to break the monotony of boredom.

When was the last time you truly felt bored or the weight of waiting?

With our phones always within reach, boredom seems rare. Just before the show started, I found myself scrolling until the moment someone reminded me to put my phone away. Ironically, while waiting for Godot, I spent my time just like I would during a break—deleting spam voicemails. What more could one imagine doing in Purgatory?

In recent times, during the COVID-19 pandemic, Ethan Hawke and John Leguizamo even took on a Zoom version of the play. How’s that for a twist of fate?

Godot’s Everlasting Impact

One nuance of “Godot” lies in how Beckett shaped a character based on the actor playing him; casting friends enhances the dynamic. I wonder if Pierre Latour and Lucien Lambourg, who premiered the original production, had a close friendship like Bill and Ted’s?

In reflecting on all this, I’ve realized that while I appreciate Reeves and Winter’s portrayal, perhaps I lean a bit towards ageism in my thoughts. After all, at 61 and 60, they might be just a tad too young for roles originally meant for older men. Ian McKellen and Patrick Stewart, who did this in their 70s, embodied the outdated struggles beautifully.

Vladimir and Estragon’s old age and their confounding situations brought a different layer. They found amusement in their predicament—even if it meant hanging themselves for that spark of life. That line stuck in my head for 25 years; it gains new meaning when an older man delivers it. Keanu and Winter bring humor, but perhaps it doesn’t carry the same weight when they’re not old enough to experience it.

Reflecting on Ian McKellen’s insights, he noted that much of life is about waiting. Ever caught yourself waiting for something—be it holidays, exams, or just watching the clock? Godot glimmers with a hint of hope for a better life.

After the performance, as the house lights came up, I noticed an usher speaking to a woman in my row. Apparently, she recorded the performance on her phone. No trace of it exists online now; she had to delete it. The show runs until early January 2026, so do consider watching—time flies.