Happy Days, by absurdist playwright Samuel Beckett, deals with our attempts to ward off existential isolation by endless chatter and rituals. Director, Zena Wood, adds visual stimulation to the experience of isolated entrapment which the character, Winnie, experiences with a visually smothering dress. Winnie represents the colonial woman in a patriarchal, conservative South African culture. In our multi-lingual, multi-cultural country we are trying to communicate through barriers. Words fail. Active listening becomes difficult and loneliness and confusion is experienced within our own culture and identity as we try to pass the time amicably until our own mortality merges into reality