"The emphatic disconnect between performance and speech does something interesting—it forces the watcher's own experience to the fore...Our own monologue of exhaustion and complaint begins...In this way, 'Quiet, Comfort' insinuates itself into our own heads...Okada and Duffy have made us conscious of how we let our lives slip away—how we let 'passenger' thinking turn us inert. We're all in bed, but suddenly we're antsy to get out. Wake up! the play seems to shout. Wake up, wake up!"