Our social sensibility, perhaps due to the radical changes in the world around us, has an ever-harder time distinguishing right from wrong. This statement is just as true about art.

In contemporary drama the character of the social outcast forced into detrimental living conditions rears its head on a number of occasions – most of the times though its presentation remain superficial, jovial, jargon laden all the while between playwright and actor the question remains: what on Earth were they attempting? Is this interest honest? Is its social sensibility genuine? Or are these characters merely employed to satisfy a trend? The more jovial the better. Another question that remains: whom are we laughing at? Why? And why ONLY laugh?

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