This text is conceived as a theatre piece. It is a contemporary, fragmented re-imagining of Waiting for Godot. It borrows from the language of Greek tragedy and existential literature, weaving together echoes of Solal, Gregor Samsa, Job and other figures of disillusionment and endurance.

Rather than retelling Beckett, it stages a new form of waiting. It is a labyrinthine journey through the Apollonian and the Dionysian, through absurdity and hope, through martyrdom and resurrection. The voices speak in ambidextrous tears, agonising grins and spongy bones; they wander, scatter, implore and question.