Irony can provide a means to communication, catharsis, and freedom that a person needs in order to survive in a world of permanent chaos and oppression. Ironic Samuel Beckett offers an unorthodox look at Waiting for Godot, Endgame, and Happy Days from the perspective of irony. This analysis questions the notion the Beckett’s theater of the absurd is essentially circular or based on nothingness, and invites the reader to reconsider established notions about Beckett and his work.