As their 25th anniversary approaches, military captain Edgar and his wife, Alice, face off in a fierce battle of wills. Their sparring proves both harrowing and hilarious, amplified by the voice of celebrated playwright Conor McPherson (Port Authority, The Seafarer, Shining City, Dublin Carol). His adaptation brings lyricism and ferocity to the story of the tyrannical captain and his manipulative wife, and the “innocent” Kurt who stumbles into their midst and quickly finds himself ensnared in the couple’s wicked game.

Schopenhauer puts a central emphasis on will and in particular has a concept of the "will to live." Writing a generation before Nietzsche, he explained that the universe and everything in it is driven by a primordial will to live, which results in all living creatures' desire to avoid death and procreate. For Schopenhauer, this will is the most fundamental aspect of reality – more fundamental even than being.[p’

Boredom isolation

Edgar and Alice have sent their children away to school, after tiring of using them as cannon fodder in their ongoing war. Even the couple’s servants are abandoning their employers to their mutual misery, providing Alice with a nice new piece of bitterness with which to badger her husband. 

Egoistical nature

“What is there to tell? All my life I’ve been incarcerated here. It used to be a prison you know. He’s my jailer — a man I’ve always despised. My life’s sentence is to

hate him until the day he dies. Then I’ll dance on his grave. The idea of sex as a battleground and marriage as a lifelong torment