In its incongruities and its ellipses, the play smacks of the satiric absurdism of that era. There is that pivotal absentee and the continual references to "it", "the hanging shadow", and "the skiing class", a mysterious force governing everything for its own inscrutable purpose. It is William, of course, who underlines the piece's status as a tragicomic parable of freedom and determination.
Like Wineva, his character is both too sportively imagined and too schematically calculated. That unevenness extends to the production as a whole:playing on a wide, narrow strip across the front of the stage is presumably intended to deny the traditionaldepth of realism. Sure enough, it is like watching clothes on a line.
To make matters worse, for the play's UK premiere the setting has crossed the Atlantic. Urban wastelands may be interchangeable, but in these accents what may be sharp dialogue seems studied and flat. With Wineva's character the transposition is certainly stretched too far. There is surely something culturally specific about the extremes of North America that makes society as non sequitur a particularly convincing metaphor, or indeed not a metaphor at all.
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