Start
I.0
This beginning gets the audience engaged immediately. Chekhov was from an era where the fourth wall was very important. This sets a precedent from the very beginning that this is something different from what audiences are accustomed to.
Disappointing
Act 1, scene 1
In this scene we as the audience become aware that Mash is unhappy and that Dev cares for her quite a bit.
In The Seagull, this conversation is much tighter and the points are gotten across more efficiently in the writing. The back and forth banter that Mash and Dev have in SFB symbolizes the disconnect that lies between them and illustrates that they do not mesh as well as a couple should. Also in The Seagull, Mash has a line that says "The air is sultry; a storm is brewing for tonight"(6). Although it is not in SFB, this line foreshadows the coming disagreements, arguments, and discontentment among all of the characters, especially between Con and his mother. We also get a glimpse of the meaning of art in Mash's life. She starts singing the song that she wrote, and although she never gloats about her art nor does she have a desire to be a musician, creating art for her has become a coping mechanism and is an integral part of her life.
The Stark-Naked Heart
Act 1, scene 2
This scene is titled thusly because this is when Nina sees the seagull for the first time. The seagull is Nina in her purest form, although she does not know that at this point.
Something else to note in this scene is Conrad's line "Then I'll shoot myself in the head" when Nina inquires about what he will do if everyone hates the play. This is foreshadowing as Conrad is supposed to shoot himself in the head. We do not know if he actually shoots himself in the head or not in this adaptation, as the play ends before he can actually decide what he wants to do.
When Nina sees the seagull in this scene, she cannot get over how beautiful it is. She even likens herself to the seagull and is described as running around the stage in her dress as she watches it fly. This is almost another version of Chekhov's gun. The seagull is seen, it then comes back later, having been shot by Conrad, and then it comes back again when Nina is convinced that she is the seagull and has been almost driven mad by the statement. Nina's love for the innocence of the Seagull is reflective of who she is at this time in the play. Conrad's reaction to the seagull is a reflection of how he views Nina and how he is taking her for granted. It is only when he feels himself starting to lose her that we as an audience start hearing his declarations of love.
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I Like Art
Act 1, scene 3
Before the "performance event" starts, Emma, Dev, Sorn, Trig, and Mash all chat about what makes art meaningful. For Emma, this is a very cut and dry matter. She does not believe art is worth anything unless it is successful. Emma places a lot of meaning on fame so this is not very surprising. It is also a reflection, however, of how she feels about her son, Nina, and Trigorin.
She is bothered by Con because to her his art is unsuccessful. Con writes and writes, but she does not understand a lot of what he writes. His writing is also a product of his pain. Emma is quoted as believing that art which is created through an artist's pain and suffering is "self-flagellating bullshit".Â
Nina is an up and coming actress who has a lot of potential and Emma cannot cannot stand that about her. Until Nina is truly successful and reaches some sort of fame, Emma can still justify believing that Nina is a mediocre actress. Until she is successful, Emma can look down upon Nina and claim that she is not as good as everyone thinks she is.Â
Trigorin is successful in his writing and is a renowned author. Emma is drawn to him as her lover because to her, his writing means something.
Here We Are
Act 1, scene 4
This scene is important for a few reasons. The theme of living in the moment and appreciating life as it is now is introduced here. Trig's performance event is all about the now. It is about appreciating things for what they truly are versus what we expect them to be or what we want them to be. This is a notion that every character in this play needs to hear and think about, except they don't. The performance is cut short. This represents the inability of every character to live in the moment and enjoy their lives for what they are, not what they think they should be. Nina mentions that there was a lot more to the performance. This represents that all of these characters are missing out on life. Their lives could be filled with meaning if they could just live in the moment.
After this performance, Nina is never able to act with integrity again. This is also when Trigorin notices her and when Con starts to feel like a failure. After this scene, the ball starts rolling down hill.
Worked Up
Act 1, scene 5
This is the scene when the audience starts to truly see the relationship of Conrad and his mother. Con's mother cares for him, but she is naive as to how to treat him better. Even when she wants to talk to him about what happened, she sends Mash to find him instead of going herself.Â
Sorn in this scene is very quietly a mediator. He smooths things over throughout the play without anyone ever even realizing that he is doing so, and this is where that starts.
It is ironic in this scene that Trigorin talks about how people get worked up over the smallest of details in life when that is what he spends his life doing. From this scene, however, a person would never know that he compulsively writes about living. He is putting on a facade for Nina, as he is aware of her presence and the shift that has taken place within himself and her. He wants to seem wise and knowing in front of her to woo her, even if he hasn't completely realized that yet.
Dev is the only character in this scene who has truly embraced "Here We Are". This is reflective throughout the rest of the play because Dev is the only character who takes life for what it is, instead of what he wants it to be. This is the first glimpse into that reality.
So Much Feeling
Act 1, scene 6
Sorn starts this scene. He talks to the audience about how he feels that the performance "had something". Sorn comes to the realization that he has let his life pass him by, not because he was searching for meaning or working on his craft, but because he was simply living and trying to get through his life as unencumbered as possible. He is not necessarily unhappy about this, but it is something that becomes apparent to him. He starts to speak of a memory about a pet turtle that he had in his youth. Before he can truly live out the story, even a little bit, he is interrupted by Mash who is looking for Conrad. This represents other characters in his life taking his age and wisdom for granted, not truly appreciating his presence and what he does for them.
Mash comes in and is upset. Sorn immediately switches his focus from his own memories to her problems. This is representative of his approach to life as the caretaker to the people around him. He will always put the needs of those around him before his own. Mash is the first character (besides Dev) to plainly say what she wants. She is also one of the first to figure herself out and figure out how to be happy. It's almost as if speaking the words "I'm unhappy", or in her case, "I hate my life", is a release for her to figure out how to start changing things, even if it's subconscious.
This scene is important is it introduces the theme of healing through communication and talking about one's problems. Mash very much represents healing from mental disarray in this play and her journey starts here.
New Forms!
Act 1, scene 7
It is worth it to note that in The Seagull, this scene happens before the "performance event". The audience gets information about Constantine and Irina's relationship before it is seen, and then the gaps are filled in by the actions and conversations that ensue. In Stupid Fucking Bird, this scene happens after we see Conrad and Emma interact.
Additionally, the problems that Conrad has with women are brought glaringly to light here. When the scene starts, it is not obvious that he is talking about his mother until slightly further into the scene. He really could be discussing Nina or Emma.
The rest of this scene features Con breaking the fourth wall. It then shifts to the actor talking to the audience and back to Con. The point that is being made is that art is always a mirror of past art. We can't truly break away from past art, because whatever we create is just the next evolution. The other point that is being made is that theatres do not produce new art anymore because it does not bring in revenue. Therefore, plays that are produced are just new versions of past plays or things that are purely for spectacle. This idea that plays and theatre have lost their meaning are the basis of what Conrad is trying to fix with his own writing.
Perfect Parenting...
Act 1, scene 8
This scene gives the audience a glimpse into Emma's inner monologue. her inner life is full of justification for her moments where she fell short, specifically in regards to raising Conrad. She can see that she may have fallen short, but she does not dare take full responsibility for her shortcomings. She instead blames her early marriage and the state of the world. Also illustrated here is Emma's desire not to be hated anymore by anyone. She specifically tells the audience not to judge her because nobody is perfect and she is doing the best that she can. This is an important moment because we see the humanity of Emma and we see her guilt. Doing the best that we can and falling short is something that everyone can relate to, and if someone says that they cannot relate, they are lying.
Actually, Actually...
Act 1, scene 9
This is another scene where we get to look inside of Conrad's mind and get a glimpse at how the gears in his head work. This scene in particular highlights the he views himself as alone in his problems. He has become so blinded by his own problems that he cannot see that he is not the only person with problems. He claims that Dev could never understand his problems when Dev is quite literally going through the exact same thing as Conrad is with Nina, except it's with Mash.Â
This scene also highlights, again, Dev's ability to see the world for what it is. He talks about how people don't realize that he is observant, but his observancy is why he is so in love with Mash. He is able to see through her facade and see her for who she truly is.
Hope Dance
Act 1, scene 10
Nina's innocence in the first act of this play is brought forth in this scene. She loves this story about the girl who does the Hope Dance and talks about how she also does this Hope Dance. Unfortunately for Conrad, this story was written by Trigorin and Nina feels like this was a gift that he gave to her before they ever even met. She also mentions in this scene that she did the Hope Dance because of her drunk step-father. It is worth noting that this is one of the deviations from The Seagull, in that the drunk step father is actually a step mother. This difference helps push Nina's underlying "daddy issues" that influence her interest in Trigorin.
In this scene Nina also talks about how she feels about Conrad. She feels like it would be weird for her not to love him since he loves her so much. But she makes it very clear that she is not feeling like Con's love is enough for her.
Can I Help You?
Act 1, scene 11
This is the first scene that we see with Mash and Nina directly interacting. This shows that in their day to day lives, these two characters probably never really interact. This is the scene when Nina starts to stick up for herself because she has truly done nothing wrong to Mash. She cannot control Con's feelings. This scene is also when Mash has a shift to understanding that she will most likely never be with Con, and that she should start to move on. This references back to the theme that goes with Mash that healing starts with talking and vocalizing. It seems that once Mash gets her frustrations heard, she is able to start healing and taking life for what it is and making the best of it, instead of wishing for things to be different.
Stupid Fucking Bird
Act 1, scene 12
Here we get to some of the meat of the main conflict between Conrad and Nina. Conrad sees that Nina liked that seagull in scene two and decided to get it for her. This is a pivotal moment in their relationship, because Nina can't stand that Conrad killed a bird for no reason other that it was pretty. This mirrors what happens to Nina. She is destroyed by other men who are naive. They take her beauty and do what they want with her and she is essentially destroyed by it. Conrad likens her to the seagull. This affects Nina greatly because she can't understand why Conrad would have shot her.
This is interesting because sometimes in relationships, people get desperate to save things. In their attempts to save things, they ruin them even further. This is what is happening here. In addition, this also shows how much Con doesn't look outside of himself to consider how others feel. Shooting the seagull is very meaningful to him, but there is no other person who would enjoy a dead bird as a gift. So on top of ruining Nina, Con ruins the relationship even more than it was already ruined, by desperately attempting to save it. One could also say that this mirrors what Conrad does to his own life. Because of his naivety, he ultimately ends up ruining himself. Both Nina and Conrad are the seagull.
When Conrad eventually talks about all of the reasons that Nina may have to hate him, it is interesting because he goes so in depth and gets so specific as to what she may be thinking. This could be symbolic of a couple of things. One thing that this could mean is that Conrad has felt this coming and in order to protect himself, he figured out reasons for Nina to stop loving him, creating a self-fulfilling prophecy. Something else that is a little more abstract that this could represent are Nina's actual thoughts. This could be played as a shift where suddenly Nina realizes her true issues with Conrad and they are spoken out loud by him. Conrad may not even realize that he is speaking so specifically, but this is what Nina hears.
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Oh, Nina...
Act 1, scene 13
After the previous scene with Conrad, Nina is finding herself encapsulated by Trigorin. This scene is basically her forgetting Conrad in all of the ways that matter. She is getting to glimpse into the life that she wants.
Trigorin in this scene is starting to unpack the problems that he has with his own life. He is looking at his fame and wishing that he were better. He is famous, but he will never be as good as Shakespeare.
This is also where we start to see the relationship between Nina and Trig materialize. Nina is very forward (she is not as forward in The Seagull, perhaps this is a sign of the times?) after Trig accidentally tells her that she has perfect breasts.Trigorin is a very smart man who notices everything and everyone. It is very possible that Trig knew exactly what he was saying but wanted to get a feel for Nina. If Nina reacted in a negative way, Trig would know to back off. Since she reacted in a positive, forward way, that was a green light for him to continue to pursue her.
At the end of this scene Nina makes a reference to Conrad's play. She says "Here. We. Are". Nina thinks that she has found the thing in her life that will bring meaning to it. He connection to Trig is everything to her. Trigorin does not repeat the words back to her. Instead, he says "Here you are". He knows that this will not last for him. Some part of him knows that he will eventually move on from Nina, because his youth will never be able to regained.
Want
Act 1, Scene 14
Very plainly, this scene is about exactly what it says. It is the barest bones of what each character wants.
Conrad
I just want to be loved.
I just want to be loved more.
I just want things to be like I'd always imagined they could be.
I just want it to ALL FUCKING STOP
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Conrad is very simply wanting life to be what he always imagined they'd be. Success at his fingertips writing meaningful, new work and the girl of his dreams.
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Nina
I just want to be loved
I just want to shine! I want to ignite the world for one, hot, shining moment like a flame or a shooting star or a meteor! I just want to be a meteor!
I just want love to be everything and fame to be what I've imagined and to be bathed in rose petals, cool rain, and endless applause. I want that!
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Nina wants to be a meteor and she is one. She had her bright shining moment with Con's play and then she fizzles out of exist and slowly dies. It is also worth noting that Trig says that he wants to capture something "shining" in the previous scene. Nins now describes herself as wanting to shine.
Dev
I just want to be loved.
I just want to be in life. Right in the middle of it. Not on the outskirts, the suburbs, the periphery of my own damn life.
I want a bottomless bowl of ice cream...
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Dev wants to be enjoying his life as it is. He is aware of the struggles of everyone else on some level and does not want to become those people. When he starts talking about his ice cream, he wants to share it. He wants to share it and have interesting flavors and fun things to eat it with. This represents that Dev wants to share the small moments of his life and absolutely enjoy them with someone else.
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Sorn
I just want to love.
I just want a hug really. A hug that lasts a month.
I just want us all to be kind. At least try to be.
I want to be twenty-seven again. I think I'm ready to do my twenties really well now...
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Sorn is longing for his youth as he has now had time to reflect and see how he could have done things better. While other characters are looking towards the future, he is looking towards the past. He also references wanting to love. This is the first clue that Sorn does not feel emotions like everyone else. He wants to feel love towards someone, but cannot.
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Mash
I just want to be loved.
I just want to hurt less.
I want him to look at me and see me so he has some fucking clue about who I "actually, actually, actually, actually" am!
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Mash doesn't want to be loved. She wants to be loved. She tells Sorn that she would walk through hell for Conrad because she loves him so much. She wants to feel that love returned. She is suffering the peak of a broken heart where she can't quite let go and is feeling the height of that pain. She wants Con to know who she actually is, even though Dev DOES know who she actually is.
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Emma
I just want to be loved madly, dangerously, FULLY...
I'd really rather just not be hated anymore.
I just want to be the center of attention. I mean, fuck it, if we're being honest, that's what I want.
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Emma is an interesting character because she seems harsh and self centered but she is actually hurting and just trying to protect herself. We see her say that she wants to be adored, but then we see that she says that she actually just doesn't want to be hated anymore. She then redacts that statement and says something far shallower. This is her defense mechanism. It is easier for her to let everyone believe what they think of her rather than try and prove them wrong.
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Trigorin
I want something... superlative. Something fresh. Something...
I want sweet first kisses,. Inconceivable softness. Discovery...
I want a lot, really. As much as possible of what life has to offer. I mean, I'm sorry, but I do. [...] I want as much of everything wonderful I can possibly get because this is life, this is all there is, so why the hell not?"
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Trigorin tries to spell out what he wants in flourished words. He uses examples of things instead of saying what he wants. Finally, he says what he wants and it is not an admirable thing. He tries to frame it nicely in his flourished words, but then comes out with the fact that he just wants wonderful things. He wants to enjoy Nina because she is wonderful. When their child dies and she becomes mundane and is not wonderful anymore, he moves on to the next wonderful thing, which is the girl names Hannah.
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Act 2
What Could Be Harder...?
Act 2 scene 15
Mash sings again in this scene. Mash is the only character who uses art for herself and not to gain meaning or status in her life. She uses art as an outlet to express herself and cope with her problems. In her lyrics, she expresses what she feels and is able to heal in that way. After being angry and not writing sings in the majority of the first act, she is writing here, after she has healed and is learning to make the most of what life has offered her with Dev. She is able to recognize the irony of her love for Con and Dev's love for her.Â
When Dev walks in, his love for Mash is absolutely apparent. He has no bounds in his love for her. When he starts speaking of the family of geese that he saw, it is kind of a mirror to the seagull moment with Nina and Conrad. Except this time, Dev sees the geese and can't help but notice how bold and sweet they are. He stops himself when he realizes that Mash is not taking as much of a liking to these geese as he did though. This is significant because the two characters listen to each other and figure out what the other person needs, rather than being too focused on themselves to see past their own heads.
Hi
Act 2, scene 16
This scene is cool because it's a real turning point between these two characters. Even if they make mention of each other after this, they do not ever have another one on one moment.
Failure
Act 2, scene 17
This scene is so pivotal to Con and Emma's relationship. Con and Emma start the scene very awkwardly and the tension is palpable. It seems as though both characters want to do the "mother/son relationship thing", but neither of them know how to do that. They both try and make it happen, but then the other one is unable to fully take it in and deflects the situation. When the tension has no other place to go, the scene becomes hostile and explosive. Both characters say volatile things to each other, but the volatile things seem to strip them of their pretenses and Con specifically is able to finally say what he feels. It's the vulnerability that a person feels after getting into an argument and they've said the things that they've wanted to say for a long time, even if they're not true things. Some of the most meaningful conversations happen once people get rid of all of the extra things that are preventing them from saying what they actually want to say. Additionally, after this scene, Emma and Conrad have a far better relationship. They do not have anymore real arguments after this one.
You Never Know...
Act 2, scene 18
This is one of the first scenes that we truly get to see Sorn. We also get to blatantly see how others view Sorn and take him for granted. The audience knows that Emma is very concerned with her own problems, but she is so obviously ignorant to what Sorn is saying. This is representative of how all of the characters take Sorn for granted.Â
Sorn talks about how, as the title of this scene suggests, You Never Know what a person has been through, and specifically in this scene, what an older person had been through. Sorn is able to relate to the happenings of everything that is going on with all of the different characters, but they have no idea. He observes from the sidelines, knowing they will all continue on, experiencing things that he understands. They all just forget that he understands. Sorn also talks about now that he is old, he doesn't quite understand why he continues to do the things that he does. He does not have much of his life left, yet he continues on doing the day to day routine. This is his first suggestion of being unhappy.
Undone
Act 2, scene 19
This scene shows us the inner workings of Trig's brain. Trigorin is good author because people feel as if he knows them. Trig "knows them" because he claims that he loves all of them. He takes the time to get into the minds of his readers and make his content relatable. This could be true, but it could also be that Trig wants the audience to think that he is more indulgent in his writing than he actually is. Trig's writing, as we see through his spoken aloud thoughts, is flourished and slightly heightened. It could simply be that this is his ideal approach to writing as it sounds good and will make other people like him and want to read his books.Â
Nina's entrance shifts the scene back into the world of the play. Nina wants Trig and Trig wants Nina. Trig holds himself on a pedestal, but suddenly he is rocked from that pedestal by Nina, and he does nothing but feed into it. He knows that he is doing something undesirable and something that he can't romanticize, but that also excites him. Additionally, he is finally feeling the freedom of being liked that he never felt as an adolescent, and he enjoys it.
Terrible to Behold
Act 2, scene 20
This scene is what truly rips away Nina's innocence. She was caught with Emma's lover. As Nina's confidence grows throughout the play, she has fun exploring that newfound strength with Trig, but suddenly she finds out that playing has its consequences.Â
Emma kicks out Nina and this very much symbolizes her love for Con and her "love" for Trig. She wants to protect the people in her life, but she also wants to protect her life. Kicking Nina out has the potential to change everything back to the way that they were. Con gets to focus on his writing again without feeling heartbroken, and Emma gets her lover back. Emma also is fighting for her role as the alpha female in this scene. This is a battle that she ultimately loses, but perhaps she does not lose the war...
Let Me Go
Act 2, scene 21
Here the audience sees the battle of wills between Trig and Emma. Emma is trying desperately to get Trig to stay and she is fighting for the thing that makes her feel young and somewhat loved. Trig is fighting for the thing that is making him feel young and excited. Trig has already made up his mind though. That is why the only words that he says are "Let me go". Emma is able to sway him though to stay for physical reasons, even though he eventually still leaves. This is indicative of Trig's wishy-washy tendencies and foreshadows his leaving of Nina. The physical aspects and his feeling of youth disappear, so he leaves.
Late Night Quartet
Act 2, scene 22
This is a similar scene to the end of Act 1. It's another scene where the characters on stage are speaking similar thoughts at the same time, but in a seperate fashion. This scene deals with the unfairness of life and how, ultimately, people cannot blame themselves for the actions of others.They're also all young and feeling the overwhelming understanding that you cannot control life. You can do your best to control what you can, but ultimately, you cannot control what is out of your control. And it feels very unfair. After this scene, the audience gets to see shift in the characters as they all grow up a little and learn to accept life as it is.
Act 3
On and On
Act 3, scene 23
Here, we get to see Mash and Dev finally happy. Or, at least, as happy as they are going to get. Mash has accepted the fact that Conrad will never love her and that Dev will. Dev loves her so unconditionally. Dev has also accepted that Mash will never love him the way that he loves her, but he has come to terms with that fact and is happy. The two of them are able to create art together through their love, that is for themselves, and nobody else. Their song talks about how when you're not trying to make your life something that it is not, you are able to discover the happiness that is within you.
Thwarted
Act 3, scene 24
Conrad feels thwarted by life. He says the word over and over while Dev describes to the audience what has been going on in his life. At this point, Dev is able to see Conrad's life from a different perspective because he has reached clarity. Con mentions that the word "thwarted" stops sounding like a word at some point. This is reflective of his life. He has been trying for so long to get Nina back and figure out a new form of art. Nina has become something of an idea that doesn't mean what it used to. Nina now means his failure and his lost battle with Trig. His "new form of art" that he is trying to find is now so convoluted that he can't see through his own haze of words and ideas.
Feelings
Act 3, scene 25
This scene begins with a very casual conversation. Many of these characters are continuing on as if Nina was never in the picture. They are almost ignoring the fact that she rocked all of their lives in very substantial ways. This mirrors how in real life people try to forget what has happened in their past versus dealing with it and becoming a better person instead.Â
This is a large scene for Sorn. He is truthful with the rest of his comrades for the first time ever. He admits that he didn't want to be a doctor, but that's what he became and then he simply continued to fill the expectations that he felt everyone had for him. He also admits that he does not feel emotions like the rest of the characters. He acts how he feels everyone else is expecting him to act. Once Sorn truly begins opening up, however, Mash returns from the kitchen with cake and everyone sings Happy Birthday. This is representative of Sorn's life. He mentions that he "never gets to talk". When he is laying out his life for everyone, he is still cut short . This also represents that Sorn let his life pass him by, and that nothing will changed for him because he is too old. He did not take action soon enough to make his life what he wanted it to be.
Not not
Act 3, scene 26
This is one of Con's last stands, so to speak. He was successful and his play was successful. Now, however, he feels that he is going to fail even more because people are expecting him to continue to write well. He is extra upset, because he still does not believe that he has found a new form of art, and he is also questioning why he wants to find a new form of art in the first place. He says that we should just do old forms better, which is essentially what this entire play is. It is an updated version of The Seagull by Anton Chekhov.
Con also starts discussing his lack of willpower in regards to Nina. As the title of this scene suggests, he can not not go and try to see her.
A Seagull
Act 3, scene 27
Here, we have an interaction between Con and Nina that truly highlights their flaws and the missteps that both of them made throughout the play. Nina has been plagued by the idea that Con shot her when he shot that seagull, especially since Con compared her to the seagull. Nina doesn't think that she can act because she is a seagull. Nina recognizes, however, that she hasn't been able to act since the day that she performed Here We Are. This represents that she lost her truth after that performance, as she started getting involved with Trig and then destroyed some lives and relationships. Con tells Nina that he will always love her and care for her, regardless of what she has done, since, as he said before, she has become his idea of what love is. Even though it is the purest love Nina may ever know, she turns him down. This is because of the guilt that she feels. She does not feel that she deserves the love that Con has for her.
What Now?
Act 3, scene 28
Con begins this scene by saying "Here. We. Are." This is very symbolic, because he has now begun his journey to possibly healing. He truly looks at his life in this scene and reflects, in many vulgarities, about where he is exactly in his life. He alo discusses what his life means in the context of the play, because he is supposed to shoot himself in The Seagull. He also reflects about how nothing real has happened and how everyone will walk away and continue on with their lives. This is ironic because the main goal of his character the entire play was to find some form of art that changes something in the world. He also discusses that without shooting himself, there is no catharsis. So in order to set up the next scene, he asks for some catharsis.
A Little Cap
Act 3, scene 29
Here we have the "cap". The audience gets to see the result of the event sin the play and how the characters lives play out. It's interesting because the characters who are happiest by the end of the main action of the play have many things to speak on. This is Dev, Mash, and Trig. Trig says sorry at the end to the audience, because even though he has questionable morals and is not a very good person, he is still happy. Sometimes life turns out that way and it is most unfair to people who are genuinely good hearted. Characters who did not changed much are the unhappiest and do not have much to say. This is Emma and Sorn. Nina became increasingly unhappy and is never able to find her authentic self gain. She just exists. Con comes out with a gun to shoot himself, and then decides not to. But right before the play ends he says "maybe". The play then ends. This ending leaves the audience in suspense and there is no real catharsis for Con. This is something that leaves a lasting impression on the audience and will perhaps inspire them to change something about their own lives.