Almost sixty years to the day since Waiting for Godot’s English language premier in London, which then prompted The Observer’s Kenneth Tynan to write that it “jettisons everything by which we know the theatre”, Samuel Beckett’s most famous play still has the capacity to delight, provoke and confound in equal measure. Yet from the off, there is something a little unusual about this production of Waiting for Godot by the legendary Berliner Ensemble. Stage left, removed from the performance space but conspicuous is a small table and chair. On the right, an old, rather regal looking armchair. Above the theatre’s…