Georges Borchardt, Beckett's literary agent, and who represents Beckett's literary estate, has always pronounced "Godot" in the French manner, with equal emphasis on both syllables. Borchardt checked with Beckett's nephew, Edward, who told him his uncle pronounced it that way as well. The 1956 Broadway production split the difference by having Vladimir pronounce "Godot" with equal stress on both syllables (goh-doh) and Estragon pronounce it with the accent on the second syllable (g'doh). Setting There is only one scene throughout both acts. Two men are waiting on a country road by a tree. The men are of unspecified origin, though it is clear that they are not English by nationality since they refer to currency as francs, and tell derisive jokes about the English–and in English-language productions the pair are traditionally played with Irish accents. The script calls for Estragon to sit on a low mound but in practice — as in Beckett's own 1975 German production — this is usually a stone. In the first act the tree is bare. In the second, a few leaves have appeared despite the script specifying that it is the next day. The minimal description calls to mind "the idea of the lieu vague, a location which should not be particularised". Other clues about the location can be found in the dialogue. In Act I, Vladimir turns toward the auditorium and describes it as a bog. In Act II, Vladimir again motions to the auditorium and notes that there is "Not a soul in sight." When Estragon rushes toward the back of the stage in Act II, Vladimir scolds him, saying that "There's no way out there." Also in Act II, Vladimir comments that their surroundings look nothing like the Macon country, and Estragon states that he's lived his whole life "Here! In the Cackon country!" Alan Schneider once suggested putting the play on in the round—Pozzo has been described as a ringmaster—but Beckett dissuaded him: "I don't in my ignorance agree with the round and feel Godot needs a very closed box." He even contemplated at one point having a "faint shadow of bars on stage floor" but, in the end, decided against this level of what he called "explicitation". In Becket's 1975 Schiller Theater production in Berlin, there are times when Didi and Gogo appear to bounce off something "like birds trapped in the strands of [an invisible] net", in James