This article is both a personal response to Samuel Beckett's "Waiting for Godot" and an examination of the concept within literature of making the strange familiar and making the familiar strange. It discusses the educative force and potential of Beckett's strangers in a strange world by examining my own personal experiences with the play. At the same time the limitations of Beckett's theatre are explored through the contrast with the work of Berthold Brecht, who sought to make the familiar strange as a method of political enquiry to facilitate the transformation of the capitalist state. Parallels are drawn between the possibilities of both theatre and education as tools for social transformation and change. (Contains 1 note.)