Despite Beckett’s insistence that productions of his plays should always adhere to his specifications, the austere set he intended for this play has occasionally been radically altered by stage designers. For example, the set of the 1988 Broadway production of Waiting for Godot designed by Tony Walton was a stretch of Nevada highway, cluttered with debris and abandoned car parts.
Tree. Sole landmark by the road that helps direct Vladimir and Estragon to where they are to meet Godot. The scraggly tree is bare in the play’s first act. Although no other trees can be seen, Vladimir and Estragon are uncertain that this is the correct tree by which they should be waiting. Indeed, they think it might not be a tree at all, but rather a shrub or a bush. Vladimir suggests that it might be a willow but admits that he does not know. He also suggests that the tree may be dead. However, when the second act opens there are four or five leaves on the tree, proving that the tree is alive and that an indeterminable length of time has passed.
Beckett reportedly told a biographer that Waiting for Godot was inspired by Kaspar David Friedrich’s painting Two Men Observing the Moon, in which such a tree figures prominently.
Low mound. Slight slope of land on which Estragon sits at the beginning of the play, struggling to remove his boot. This is the only other feature of the landscape mentioned in the stage directions.