Two tramps named Estragon and Vladimir meet on the road, beside a tree. They are very happy to see each other, having been separated for an unspecified amount of time. Estragon has a sore foot and is having trouble taking his boot off. He tells Vladimir that he was beaten the previous evening.The two men remember that they are supposed to wait under a tree on a Saturday for a man named Godot. It appears they do not remember the man named Godot very well, but they think he was going to give them an answer. They cannot remember the question. While they are waiting, Estragon falls asleep. Vladimir, suddenly feeling lonely, wakes Estragon. Tired of doing nothing, they begin talking about the tree and the wait, then settle on discussing their sorry condition. They are homeless and penniless, traveling from one place to another. They contemplate suicide by hanging. They nibble carrots and turnips for food. Most of the time, they simply wait for Godot.

On March 16, 2003, Rachel Corrie, a twenty-three-year-old American, was crushed to death by an Israeli Army bulldozer in Gaza as she was trying to prevent the demolition of a Palestinian home. MY NAME IS RACHEL CORRIE is a one-woman play composed from Rachel's own journals, letters and emails—creating a portrait of a messy, articulate, Salvador Dali–loving chain-smoker (with a passion for the music of Pat Benatar), who left her home and school in Olympia, Washington, to work as an activist in the heart of Israeli-Palestinian conflict. In the three sold-out London runs since its Royal Court premiere, the piece has been surrounded by both controversy and impassioned proponents, and has raised an unprecedented call to support political work and the difficult discourse it creates.