As Andrew Bovell's remarkable Speaking in Tongues begins, two couples on
opposite sides of an impressionistic set are discussing whether or not to pursue extra-marital affairs. While they natter on about this, Bovell indulges in a slyly cynical conceit: The actors speak in unison. The playwright is implying that these sorts of surreptitious exchanges are utterly predictable; aside from the occasional word or phrase, dallying lovers everywhere use the exact same rationalizing language.

Bovell suggests that the characters' protestations of anxiety and uncertainty, of respect and love for their absent spouses have been uttered, are being uttered, and will continue to be uttered by errant[...]