Characters

Download PDF PDF Page Citation Cite Share Link Share

Agnes
Agnes is portrayed as a "middle-aged woman, very neat, very tense, very tired." The author describes her as someone who has "spent her entire life striving to do the right thing, and this effort has left her uncertain of herself." She is Felicity’s eldest daughter and only surviving child. During an interview, Agnes reveals that she suffers from psychosomatic headaches, which have become so ingrained in her life that she only notices them when they "disappear." Living under the shadow of her late sister, Claire, Agnes seems consumed with the need to please her mother and care for her during her illness, despite enduring her mother’s continual abuse and the chaos her mother’s condition brings into her life. When questioned about her sister or mother, Agnes easily recounts their life stories. However, when asked about her plans after her mother’s passing, she responds with silence. Agnes also confesses that after one of her mother’s hospitalizations, she replied to her mother’s letter by pretending to be Claire. She has continued this practice, believing it gives her mother hope and "makes her happy." Yet, when the interviewer inquires about what "makes her happy," Agnes is taken aback and quickly shifts the conversation back to her mother’s health.

Beverly
Beverly unexpectedly arrives at Cottage Two, much to Mark’s displeasure, as she is his lover Brian’s vibrant ex-wife. She is a globetrotter, an adventurer, and somewhat of a drinker. Beverly makes her entrance wearing an elegant, though stained and torn, evening gown adorned with "bits of jewelry," all concealed by a "yellow slicker raincoat and rubber boots." Despite her physical allure, she possesses a rather raucous sense of humor and is often seen taking swigs from a gin bottle cleverly hidden in her purse. Beverly’s charm lies in her ability to be brutally honest while injecting humor into serious situations. She manages to reveal the truth of Brian’s illness to both him and his lover, soothing one while distancing the other. Her insight into Mark’s true nature is also evident, as she reminds him of Brian’s need for him.

Brian
Brian is the second terminally ill character introduced in the story, described as "a graceful man... simple, direct, straightforward," who "possesses an agile mind and a childlike joy about life." Among all the characters, Brian seems to have spent the most time reflecting on his life for the sake of productivity—considering his past relationships, achievements, unfulfilled dreams, and what it means to be dying. During a conversation with his ex-wife, when questioned about his new interest in writing, Brian responds, "I realized that there was a lot to do that I hadn't done yet. So I figured I better... start working." For Brian, "working" involves liquidating or selling all his possessions and hiding the money in a sock on Staten Island, visiting Passaic, New Jersey, just for the experience, or writing an endless stream of literature. Besides being something of a dreamer, Brian serves as the philosophical voice of the story. He has chosen to forgive and forget the fact that his ex-wife left him. By making peace with his past, Brian has found a sense of openness in his world.

Felicity
Felicity, described as being in her sixties or seventies and confined to a wheelchair, is unexpectedly spirited, albeit somewhat senile, and is openly hostile towards both the interviewer and her daughter, Agnes. She refers to the interviewer as "you and your people" who have "all come to look at the dead people." Her opinion of her daughter is equally harsh, telling the interviewer, "She's a little slow. It's not her fault....

(This entire section contains 1200 words.)

Unlock this Study Guide Now

Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.

Get 48 Hours Free Access


Not too pretty and not too bright," and warns the interviewer, "you have to be careful of Agnes. She's jealous." Felicity appears to be suffering from dementia, speaking to the interviewer about life on her dairy farm as if she were still living there, and talking about her deceased daughter, Claire, as though she were still alive. According to her daughter, Felicity clings to these memories to keep herself going and maintain a sense of hope. However, the interviewer suggests these memories might be the only thing sustaining her life.

Interviewer
The enigmatic interviewer never reveals their identity to the audience. This character undoubtedly works for the hospital and seems to be a clinician. It is uncertain whether they are a psychiatrist. It is also evident to the interviewer's subjects that their meetings are research-oriented. More importantly, it is through the interviewer's probing questions that the audience gains access to information that others do not possess.

Joe
Act I begins with Joe, a terminally ill patient residing in Cottage One, conversing with the interviewer. He is depicted as a "strong, thick-set man," somewhat awkward in movement and speech, yet brimming with energy. Joe hasn't seen his wife and son for six months following his extended hospital stay, and he feels a bit uneasy about their upcoming reunion. While Joe confides his fear of death to the interviewer, he quickly emphasizes that his wife's mental state is his primary concern. When the interviewer comments that Joe "seems" to be "fine," Joe distractedly replies, "Oh, me. Yeah sure, but Maggie," as his family arrives. Despite Maggie's reluctance to discuss his condition, Joe shares his feelings about his illness with her. He is a realist, confronting his disease and emotions directly, expressing his dreams and frustration over lost opportunities.

Maggie
Amidst a "mass of bundles, shopping bags, and suitcases," Maggie approaches the cottage, dressed up yet appearing disheveled. She is not only Joe's wife and Steve's mother but also the family organizer and troop leader. Despite her evident leadership skills, Maggie often seems nervous, easily excitable, and highly agitated by her environment and her interactions with Joe. She reacts frantically to Joe's attempts to discuss his illness, avoiding any connection with it by refusing to engage in conversation about it. After months apart, she tells Joe that he "doesn't have to tell" her about his condition, insisting she can see he is "fine." More dramatically, Maggie refuses to enter the cottage, declaring, "I’ll go when I’m good and ready." In a moment of tension, she slaps her son and flees to avoid confronting Joe's reality.

Mark
Mark, a male companion and nurse to Brian, is portrayed as a solemn character in the play. Unlike Brian, Mark is serious, overly protective, and somewhat distant from Brian’s ex-wife, Beverly. Upon meeting her, he immediately begins to recount his experiences with Brian, as if the suffering were his own. Mark warns Beverly about Brian’s altered appearance in vivid detail.

As Mark reveals aspects of his relationship with Brian to Beverly, the audience learns of his underlying, self-serving reasons for his dedication to his dying partner. He confesses to having worked as a male prostitute before being welcomed into Brian’s home. For Mark, Brian represents a second chance, and Brian's impending death signifies the end for him as well.

Steve
Steve, Joe’s fourteen-year-old son, is full of energy and unaware of his father's illness. His ignorance becomes a point of contention between Joe and his mother, Maggie.

Previous

Themes

Next

Critical Essays