Simultaneously it introduces the audience to elements of Heidegger’s philosophy which are a significant part of 20th century existentialism. While these ideas are appealing to the contemporary, secular New York theater-going audience, the play shows their darker side. It reveals how Heidegger’s glorification of the irrational fed into the anti-rationalism of Nazsim (though, as Lackey points out, most critics of rationalism were anti-Nazis) and, by extension, the irrationalism that is currently having a renaissance.

¶ 10:14 PM