Move over, Keanu Reeves—there’s a new Godot in town, and it’s speaking Ulster Scots. But here’s where it gets controversial: Samuel Beckett’s Waiting for Godot, a play often performed by Hollywood A-listers, is now set to make its world premiere in a language that’s rarely heard on the global stage. This isn’t just a translation; it’s a bold statement about cultural identity and the power of minority languages to reclaim their place in the world. And this is the part most people miss—it’s happening in the heart of Northern Ireland’s rugged Antrim Plateau, where the stark landscape mirrors the play’s existential themes.
On Good Friday, after a 3km trek through the boggy uplands, audiences will find themselves under a steel tree, physically and emotionally aligned with Estragon’s struggle to remove his ill-fitting boots. The setting? A volcanic plateau that feels like it was plucked straight from Beckett’s imagination. Seán Doran, of Arts Over Borders, describes it as an ‘existential landscape of heath, moss, and bog,’ perfectly complementing a script that’s ‘peppered with exterior references.’ But what truly sets this production apart is its language—Ulster Scots, or Ullans, a tongue rooted in the early 17th-century plantations of Scots speakers in northern Ireland.
Here’s the bold part: For the first time, Waiting for Godot will be performed in Ulster Scots, in a region where the language is still spoken. Doran argues this will ‘bring a whole new total register’ to the play, transforming its performative aspect. Frank Ferguson, the translator, calls it ‘a major coming of age moment’ for Ulster Scots. ‘It shows confidence in what Ulster Scots can do as a language,’ he says, ‘because you’re taking on a global dramatic phenomenon and placing it within its Ulster Scots translation.’ The working title, Ettlin Fur Godot, even reimagines Beckett’s iconic stage directions: ‘A country road. A tree. Evening’ becomes ‘A loanen. A tree. Dailygan.’
Ferguson, who views Ulster Scots as a language, not a dialect, sees this as a moment of self-discovery for a tongue that’s ‘trying to find its way in the world.’ And what better setting than Godot? The play’s themes of waiting, hoping, and longing resonate deeply with minority languages, which often yearn for their own moment of salvation. ‘It’s waiting for its moment to live and find itself again,’ Ferguson notes.
Scheduled for Good Friday, 3 April 2026 (Beckett’s birthday), this production is part of the Samuel Beckett Biennale, a 10-year festival that will experiment with translations in languages like Aboriginal Noongar, Sami, and Inuit, as well as productions starring homeless actors. Arts Over Borders aims to strip Godot of its celebrity sheen, returning it to its roots—much like its 1953 premiere in French in Paris. But is this the right approach? Do we lose something by moving away from star-studded casts, or does it open the door to fresh perspectives?
Keanu Reeves may be the latest Hollywood star to tackle Godot on Broadway, following in the footsteps of duos like Patrick Stewart and Ian McKellen, but Doran believes ‘celebrity Godot’ can overshadow other interpretations. ‘That’s clearly what we’re trying to do,’ he says, ‘through different languages, outdoor settings, and unconventional casting.’ The Biennale will span rural and urban locations in Northern Ireland, the Republic of Ireland, and England in 2026, returning in 2028. But the question remains: Can a play so often associated with big names truly be redefined? And if so, what does that mean for the future of theater—and for Ulster Scots itself? Let us know your thoughts in the comments.
