Vigil is about a man returning--after thirty years--to sit with a female relative on her deathbed. Kemp, the protagonist, is an extremely self-centred and shallow person who uses acid wit and seemingly callous indifference to cover up the profound discomfort he experiences upon finding himself part of a death watch. Kemp's problem is: she's not dying fast enough. Through Kemp's own errors and inattentiveness, the visit that he thinks will take a day or two stretches into a year, and he finds himself caring for his long-forgotten aunt Grace against his will. Gallows humour and Kemp's diatribes on humanity and mortality fuel this delightfully dark narrative, but it is Grace's economical contributions to the dialogue (she's a woman of few words) that give this play its weight and profundity. A play of mistaken identity, twisted circumstance and surprising turns, it is deliciously absurd, incredibly funny and poignantly tender. This is one Vigil worth keeping.