Fifteen years after World War 2, Beckett still focused on the futility of existence that war—and French philosophers— engendered. “What’s it all for?” He seemed to ask. In HAPPY DAYS Winnie (Dianne Weist), the protagonist first buried up to her waist and then to her neck in desolate terrain, asks us to pnder the same question. Her existence seems inexorably tied to husband Willie (Mark Ridko) who rarely, if ever, acknowledges her. As Winnie’s cheery facade gradually falters, we begin to understand her as a metaphor for our own lives. His existential view of life remains constant, though. In HAPPY DAYS Beckett found, maybe not THE answer, but AN answer.