By the time Woza Albert is finished, there is a celebratory series of resurections, and one comes to realize that this is the opposite of a play like Waiting for Godot or The Bald Soprano: it is a play that emphasizes the community--the necessity of community--in an oppressive modern culture. The oppressors are the absurd ones, they read out of Becket, but the hereos Morena, Zulu Boy, and all the victims of arpartheid in general are portrayed as knowing what they're doing. They react against the bourgeouis prejudice and taste that created a system in which corruption and lechery rule. They find and make beauty, if only for a moment, in something natural, out of something that came to them only by chance. In so much, the play emphasizes the creative principle over the destructive one, the play recognizes the sincerity of those eeking out a living and not the barking of those without any discernable purpose for living, and this play, in short, does put the fun back in Christian Fundalmentalism.