This marked "the beginning of Beckett's enduring links with prisons and prisoners ... He took a tremendous interest in productions of his plays performed in prisons." UK Like all of Beckett's translations, the English translation of Waiting for Godot is not simply a literal translation of . "Small but significant differences separate the French and English text. Some, like Vladimir's inability to remember the farmer's name (Bonnelly), show how the translation became more indefinite, attrition and loss of memory more pronounced." A number of biographical details were removed, all adding to a general "vaguening" of the text which he continued to trim for the rest of his life. The English-language premiere was on 3 August 1955 at the Arts Theatre, London, directed by the 24-year-old Peter Hall. During an early rehearsal Hall told the cast "I haven't really the foggiest idea what some of it means ... But if we stop and discuss every line we'll never open." Again, the printed version preceded it (New York: Grove Press, 1954) but Faber's "mutilated" edition did not materialise until 1956. A "corrected" edition was subsequently produced in 1965. "The most accurate text is in Theatrical Notebooks I, (Ed.) Dougald McMillan and James Knowlson (Faber and Grove, 1993). It is based on Beckett's revisions for his Schiller-Theater production (1975) and the London San Quentin Drama Workshop, based on the Schiller production but revised further at the Riverside Studios (March 1984)." In the 1950s, theatre was strictly censored in the UK, to Beckett's amazement since he thought it a bastion of free speech. The Lord Chamberlain insisted that the word "erection" be removed, " 'Fartov' became 'Popov' and Mrs Gozzo had 'warts' instead of 'clap' ". Indeed, there were attempts to ban the play completely. Lady Dorothy Howitt wrote to the Lord Chamberlain, saying: "One of the many themes running through the play is the desire of two old tramps continually to relieve themselves. Such a dramatisation of lavatory necessities is offensive and against all sense of British decency." "The first unexpurgated version of Godot in England ... opened at the Royal Court on 30 December 1964." The London run was not without incident. The actor Peter Bull, who played Pozzo, recalls the reaction of that first night audience: Waves of hostility came whirling over the footlights, and the mass exodus, which was to form such a feature of the run of the piece,