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Skip to content. The three are drawn together -- one assumes by their mutual inability to fend for themselves. Babette and Theo even have an affair not, apparently, a very successful one.
Outside figures who don't appear on stage are also of some significance, in particular Larry, who brought them all together and continues to be an important figure to them.
Other characters are heard -- the voices of a neighbour, a delivery person -- but not seen; an "Airshaft Couple" did appear in the Soho Rep.
The play is dominated by the characters aimlessness and desperation. Money is in short supply and each pins their vague hopes on unattainable goals: Theo can barely compose a note, Frank clearly isn't auctioneer-material, and Babette's book sounds quite out of control.
Their personal lives -- the tepid affair between Theo and Babette that also seems little more than an outburst , Frank and Theo's longings for those who aren't interested in them any longer -- also offer no fulfilment.
The three provide support for each other, but mainly merely through their presences. Fear and doubt prevent them from truly relying on one another, and generous gestures -- like Frank offering Theo some ideas for catchy tunes for his Thrill-o-rama composition -- are cruelly squashed.
The play offers some dramatic arc, but it isn't really plot driven. The play is written with "line breaks, internal capitalizations, and lack of punctuation".
Gibson explains: These are intended as guidelines to the characters' thought processes, in terms of emphasis and pattern; they should be honored, but should not enslave the actor.