Though it seems as if nothing happens in the play, actions actually play a very important role in Waiting for Godot. The stage directions of the play constitute nearly half of the text, suggesting that the actions, expressions, and emotions of the actors are as important as the dialogue. Examine the significance of the stage directions of one particular scene; for example, why is Estragon always struggling with his boot? What is the significance of Pozzo's vaporizer spray? What is the point of the scene in which Vladimir and Estragon exchange hats eight times?
Estragon’s confusion seems silly, but he might be getting at something bigger. Then there are the nicknames of Estragon and Vladimir—Gogo and Didi—which together are reminiscent of the name in question. Even Lucky becomes a Christ figure when we take a closer look; he is abused and made to suffer while he bears this sort of "crucifixion" in silence. All we know of Godot’s appearance is that he has a white beard, and Lucky himself has long, white hair.
Godot could be any of these men, or he could be all of them—that certainly fits with the idea of God as omnipresent and without concrete form, but it throws one heck of a wrench into the idea of waiting for Godot to arrive.