… [Barker's plays] are notoriously difficult to stage successfully. It is hard, as an actor or director, to tell if a moment ‘works’, when the drama operates on such unstable aesthetics, the very instability of which is central to the effect – or rather, the totality of many effects depending on the individual response of the audience member. It is like building a house during an earthquake: one has to accept that not the structure but its collapse is the object of spectacle – and hope that the result is as viscerally and intellectually disturbing as the material demands, and not merely baffling or revolting…

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