[2] According to the painter Avigdor Arikha, an intimate of the author, the rotunda was inspired by the Val-de Grâce church in Paris which Beckett could see from his study window.
The imagination of the invisible and nameless narrator constantly shifts position to examine, like a miniature camera, the two foetus-like figures in their stark environment.
Produced by the experimental theater group Mabou Mines, the work was directed by Ruth Maleczech with holographic design by Linda Hartinian.
[6] Reviewing for The New York Times, critic Mel Gussow described the production as "a paradigmatic example of the Mabou Mines mastery of technology in the name of art".
[7] In April 1986, at MIT's List Visual Arts Center, Maleczich and Hartinian staged a slightly revised production, with Beckett's text spoken on tape by veteran actress Ruth Nelson.