As the play progresses, Richie’s imprisonment in the routine of banal everyday practice would begin to gnaw away at his brain. His cries for recognition in the desire of the other would be ignored, his sole companion being his own fractured subjectivity. Speaking to Fonzie’s only visible appendage, an elbow jutting through a tuft of thick green, he’d continually deny the knowledge that it is himself to whom he speaks. The final scene would see Richie’s body almost entirely buried in the mound, kidding himself about a fictitious happiness supposedly forthcoming, while Fonzie stumbles down the side of the mound to jump the shark at a nearby beach.
Too many words have been given to this. An existential play sounding a new timbre, a result of the insertion of two sitcom characters, is too playful a prospect not to consider. As is also the idea of a Beckettian Happy Days (Mr Cunningham would make a great Hamm in Endgame). But alas, in the end, the act becomes a mere coda to the words.