A literal sweatshop, this jerry-built structure is at once concrete, fantastical, and metaphorical, its ricketiness no contradiction of the grinding realities it indexes.

D'Amour certainly has a fine touch at finding the comical in ricketiness and bad habits.

The pervasive aura of ricketiness and nonalignment gives the set a look of instability and temporariness, as though it had been hastily assembled anew before each performance, in much the same way that a Russian fair was assembled and demounted and reassembled for each of its resurrections.