The subtitle--A Puppet Play with Actors--suggests the puppets' central role in LCRH, a centrality that visually complicates some of the fundamental dualisms structuring Western theater and culture: body/voice; interiority/exteriority; active/passive; past self/present self; private/public; individual memory/collective memory; performativity/ theatricality.
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. This reformulation works to displace the moral significations embedded in bodies, particularly those bodies marked as sexually deviant and contaminated, with an emphasis on the breath as ontological ground zero.
In his New York Times review of Long Wharf Theatre's 2003 production of LCRH, directed by Oskar Eustis, David DeWitt described Vogel's approach as "a revelation ...