Giles Cooper's work seems completely transparent. The dialogues are simple and effortlessly witty, the plot unfolds easily, as if by itself (only upon repeated reading do you notice how skillfully the writer prepares future events), the characters’ personalities are expressive and reliable, even the grotesque figure of Gann remains completely human, despite the exaggerated formality of his behavior and communication with subordinates. The real easily connects with the unreal: Cooper describes incredible events as if there was nothing more ordinary. The characters are extremely incurious: after ten years of living in a godforsaken place, none of them took an interest in newspapers, went to the city, or talked to local residents. Almost until the middle of the play promises to be a comedy, the reader relaxes, reacts complacently to jokes, but as soon as he is finally convinced of the “lightness” of the genre, the writer breaks the rules of the game: sadness and sympathy creep into the reader’s soul as uninvited guests.