So emotionally separated are the story's characters from the audience, that we are unable to connect with who they are and what is driving them apart from one another. At heart, the writing lacks a point of view to help us see past individual incidents or to gain a clear idea of the world in which Larry operates. Instead, we are presented with a series of scenes that, diary-like, lead us from stage to stage in our protagonist's life. They are further hindered by the monochromatic approach that Robin Phillips has taken with both his direction and his design. A massive rectangular frame sits centrestage, opening and shifting sides throughout the evening.
Actors enter around and through the structure, often playing scenes to one side of it.
But its purpose, as either literal or metaphoric home, is never explained or clarified. So, when the actors become shrubs to be cut down in Larry 's Winnipeg home, the moment is bewildering in its amateurishness. Later, when Larry sings his final song while running circles around the set, the other actors' arms reach through the frames, presumably to connect with the man himself. The moment is not remarkable. Much of the spoken dialogue is taken directly from the novel and the musical numbers, too, owe their inspiration to Shields' words and ideas.