'While Waiting-for-Godot' is made with a New York University Cast & Crew.

Contact us here.

              Pilot, "Nothing to be Done"

Directed by Rudi Azank

Starring Ran Shelomi, Rudi Azank

While Waiting For Godot

Episode 3, "The Goodness of the Travelers"

Directed by Rudi Azank

Starring Ran Shelomi, Rudi Azank

a 21st Century adaptation of Samuel Beckett's 'En Attendant Godot'
Brand New Translation. Brand New Setting. Good Old-fashioned Waitin'.

Pav Reel Film Fest

Official Selection

Best Internet/Web Programming


WINNER Best Cinematography 

Best Director    nominee











Episode 4, "You're My Only Hope"

Directed by Rudi Azank

Starring Ran Shelomi, Rudi Azank

Episode 2, "It's the Only Version They Know!"

Directed by Rudi Azank

Starring Ran Shelomi, Rudi Azank




Best Photography,

Best Production Design,
& Best Costume Design






Our show is a cinematic adaptation (an academic film production the Beckett Estate approved of) based on a new translation of Samuel Beckett's original unpublished 1948 French manuscript of 'En Attendant Godot' (pre-censorship and theatrical adaptation), giving English speakers a chance for the first time to experience the raw, uncensored, rebellious play as Samuel Beckett originally intended. The themes of this classic play echo throughout today's world, its exploration of poverty has never been presented in the fashion of our upfront and guerrilla adaptation.

In our new adaptation we try to bring to the surface the social themes of Beckett's surreal and minimalistic theatrical play. The work explores the isolation and desperation of poverty. With our film, we incorporate cinema verite footage of New York City (where the story has been set), documenting the recent surge in the homeless community following 2009's Great Recession -- not much of a leap from the Great Depression "bums" that Beckett originally envisioned as his protagonists.
Our adaptation is a Neo-Realist/Comedic/New York take on the Beckett's infamous play.

The Tao of Godot:

Through long discussions with our cast of Mr. Beckett’s play, and hours of workshopping this classic material together, we came to realize that we have a new interpretation of Beckett’s story, slightly different from the average dark, surreal view of the play. We believe that the play, through numerous repetitions, teaches us that in fact the antithesis of its main phrase “Nothing to be done” is true. Each time Didi, or Gogo, repeats the line “Nothing to be done” it is immediately preceded and followed by quite a lot of “doing”, “staying busy” or ”keeping active" as some would call it; fretting and worrying about our expectations, appointments, and deadlines. Racing and racing to distract the mind, in fear of boredom and mistakes. The message of the play, as I read it, is that there isn’t in fact "Nothing to be done", but that there is Only one thing to be done: enjoy and savor the company of those you love. The busy work, the "waiting" will happen, it will get done, naturally, on its own, because it can't help but happen. Time will pass, change will happen, Godot will come or not, it doesn't matter. The waiting will never end, because the second you get what you’ve been waiting for, you immediately begin dreaming of the new thing you’ll wait for. You never run out of expectations, and “Godot” never arrives.

In this play’s minimalistic plot — and oddly enough, in following with a traditional screenplay formula — Godot’s story focuses on one central conflict and spirals out from there (that Godot said he’d meet them at that tree tonight, but he isn’t there). The play then serves as a lesson on how to be patient, how to exist while not yet having everything we want. Didi and Gogo are left with either working themselves mad trying to fix their problem, remember the crucial detail from Godot’s last message that would clear things up — at times they attempt to solve their unsolvable conflict, as all humans do, but these moments always lead to frustration, arguing and unhappiness. It is these moments of the play reach particularly high peaks of absurdity and near incomprehensibility. But at other moments, Didi and Gogo relax, forget about their worries and their strife, and begin to enjoy each other’s company while they wait together, not letting the circumstances of this given day darken one’s general outlook, and instead deciding to enjoy life. When they simply choose to enjoy the waiting, the dialogue don’t appear bizarre or surreal at all, they’re just two pals, passing the days, underneath the arches.

Didi and Gogo get through it, a full cycle of “today”, day after day after day. They get through it by being excited to listen to each other, share thoughts with each other, their best friend. It is that essence of the play that I love most about the work, and one that I feel is paramount to any production of Godot, they must capture how it's about friendship. It's about how the joy of friendship can replace even the worst existences. It is strangely sentimental and optimistic for the leading work of the notoriously existential Theatre of the Absurd movement. Though this play has a reputation of incomprehensibility and bizarreness, I think its core story of friendship is actually quite relatable to anyone.

We hope you enjoy our little rendition.