It establishes a strong sense of place while simultaneously demonstrating the tremendous difficulties of articulating grief and of the prevailing senses of unreality and dislocation with which Cooper and Hannah must contend. Hannah is exasperated by Cooper’s insistent ‘agenda’: “You’ve had this look like you’re on a deadline at work, your feet to the fire, but you have nothing to do but eat, drive and enjoy yourself, so what do you want, Cooper? In Bennett’s play, brought so memorably to life by the searing performances of Bluford and Rhodes, we learn it’s okay to accept grief’s messy, complex process that does not have to become an exercise of navigating neatly defined stages.