SIGHT UNSEEN
Margulies uses a quirky, disconnected structure for his play, skipping around between Nick and Patricia’s farmhouse, where Waxman tries to rekindle the old romance; a London art gallery, where Waxman is interviewed by a pesky German journalist; his studio in 1975, where Patricia posed for him and he became infatuated with her; and his bedroom two years later, following his mother’s funeral, where he rejected Patricia.
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By making his characters artists and archaeologists, Margulies seems to have both artistic and archaeological aims. His play is a deeply felt, emotional work with an intensely gripping depiction of the varied meanings a work of art can possess. But it is also an almost scientific excavation of the disappearing fragments of individual societies and the sense of loss that accompanies assimilation.
