Waiting for Godot has a reputation as an elusive masterpiece.

Samuel Beckett’s absurdist comedy has arrived on the chameleon-like Sydney Theatre Company (STC) stage.

Audiences expect high-calibre productions from this theatrical institution and even when casting stars like Hugo Weaving and Richard Roxburgh – two powerhouses of the Australian entertainment industry – raises the anticipation through the roof, Waiting for Godot delivers the goods.

A sparse, desolate theatre within a theatre set design ensures the focus is firmly on the two strong leading men.

Weaving is Vladimir, whose optimistic, jovial façade masks weariness as he waits with his friend Estragon (Roxburgh) to be seen by the never-arriving Godot.

Subtle character nuances, expressions and movements leave no traces of Weaving ‘the actor’ and thus cements his reputation as a leader within the industry.

Roxburgh is grumpy yet charming as Estragon and the two actors complement each other perfectly in a co-dependant relationship that never misses a beat even during lengthy pauses.

Luke Mullins’ physicality as Lucky, Pozzo’s (Philip Quast) ‘pig’ carrier is astounding. He does not relax for one moment, even when sleeping standing upright or collapsed in a heap over Pozzo’s rotund frame.

Waiting for Godot has a reputation as an elusive masterpiece. It is full of complex philosophies intended for interpretation by the audience at will, and STC’s production is simply superb.

Until Dec 21, Sydney Theatre, Pier 4, Hickson Road, Walsh Bay, $55-105, 9250 1777, sydneytheatre.com.au