'Nothing happens, nobody comes, nobody goes, it is terrible.' Jean Anouilh's judgement on the first production of Waiting for Godot at the Babylone in 1953 went on to conclude that the play would, in time, represent the most important premiere to be staged in Paris in forty years. Nobody who is acquainted with Beckett's masterly black comedy would now question this prescient recognition of a classic of twentieth-century literature.