Mama has plans for son Yoji even before his birth, plans that no one, not even her absent philandering husband or Yoji himself can persuade her to abandon. Stereotypically maternal manipulation conflicting with a son’s desire to live his own life is at the core of this work. The conflict is represented in a flatly lit, austere space, with a television playing a significant narrative throughout the piece. The push-and-pull of filial relations has a witty, incestuous bite.
