Adam, a more or less schizophrenic and nagging husband, does not leave his wife, Eve, in peace as he seeks to make meaning of his existence even as his mind is cluttered by memories and notions of past lives and religious dogmas. His wife, emancipated in the extreme, would rather be a man whilst remaining a woman. Her phobia of the kitchen and the labor room is telling. Husband and wife slug it out in this season of anomie. They are the reason for the season. While Adam seems to have a vague sense of loss, Eve is blissfully oblivious of their state and simply paddles on, her intuition deadened by the craze for glamor and tinsel – a fact that underscores her husband's despair in the play. The play adopts a staccato of language styles appropriate to the purposelessness, drift and decline the playwright seeks to portray – from pseudo poetry, through the pedestrian or prosaic to regular common usage and descending many times to the level of the excremental and vulgar! There is actually an excremental motif that runs through the play with a toilet at the background that continually underscores the waste, emptiness and decay typical of this new world in which, despite all the odds, the couple simply waltz on, swaying to the rhythm of their base sexual impulses – a definition of their real status, all considered!
