Zeldin clearly wants to major on individual and shared humanity. We see this throughout the play.The program for the play contains a note from Zeldin, and a short essay by Jacquelyn Simone, MPA, an activist and writer who worked at the Coalition for the Homeless from 2014 to earlier this year, where she advocated for long-term solutions to mass homelessness in New York City.
Simone’s point is that while an ocean may separate the circumstances we see on stage in Britain to where we sit in New York, the possibility, ordeal, and impact of homelessness is one faced by many—especially in big cities where rents are so high, and what people pay for rent can be as much as half, sometimes over half, of their income. If a job is lost, the specter of losing one’s home becomes a not only very real, but also a very immediate threat.
The play has been so real-feeling, this breaking of the fourth wall could seem one step too fancifully far. But the central mission ofis not just an appeal to liberal audiences to feel its characters’ pain, and to passively empathize. It is seeking a more active engagement—an empathy based in doing something, fighting for something, recognizing something, of truly opening our eyes, minds, and hearts to others. In achieving this aim does not proselytize, it simply shows and explores.
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