Suzuki has merged Japanese and Western drama with contemporary issues in an effective way. The clash of philosophies between the Japanese and the ancient Greeks contributes to an expanded perception in the Western audience, which is no longer constrained by logic, or linear time, or the belief that death is the end in an absolute sense. When someone dies in Suzuki's plays, he or she is as likely as not to reappear as a ghost. The messages of Noh, where the spirit world still informs the world of the living, are now inserted into Greek tragedy. Darius, indeed, in the Persians and Polydorus in Hecuba come to inform, but hardly to kill or to initiate a new cycle of oppression.
Time is perceived in cycles rather than in fixed and discrete periods.
Suzuki's is no ordinary theatre. It is what Peter Brook would call sacred theatre. He likewise demands a commitment from the audience, which is well rewarded. One feels and experiences his plays physically and spiritually as well as intellectually. Suzuki also asks dangerous questions about us and our relation to society, our relation to life and death, our relation to oppression and freedom.