Like Bunraku puppeteers, the actor-puppeteers in LCRH remain visible when manipulating the puppets.
In a culture that has lost its faith in universal categories and communal values, the characters in LCRH search for something solid on which to build a belief.
Unlike the minutes that Emily witnesses in Our Town, which move ever forward, time in LCRH moves recursively, interrupting perspectives of progress with memories that return to haunt the present.
It is the breath--and not the body--that separates the living and the dead in LCRH.
Ann Pellegrini argues, however, that LCRH "reveals the fragility and the hope of human (re)connection," and the characters "yearn for contact with each other, with the past, with lost parts of themselves.