These two recent and acclaimed plays by Enda Walsh are meant to be a
tandem billboard featuring a set of idiosyncratic issues, or as we may allow
ourselves to call them, by now, “Walshian obsessions.” Namely, the vicious
need to replay the darkest pitfalls of one’s own family past; the ritualistic, cyclic
and punctilious nature of the paraphernalia and wording involved within this
performative procedure; together with the exploration of its dubious range of
loyalty to reality, and the limits of its transfigurative and therapeutic effects.
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