Bernard Pomerance's Foco Novo offered a three-cornered glimpse of the struggle between establishment (i.e. capitalist) forces and terrorists, with the United States intervening on the official side, in a South American state, not to say Brazil. Its circular plot actually demonstrated that guns solve no problems, but had been equipped with an epilogue hopefully suggesting that a hopeless and useless rising would after all act as an inspiration to the next wave. There was about the play a kind of undergraduate earnestness which rather swamped the dramatic moments…. (p. 39)