future to accuse the society of the audience of his murder. The second, The Tin Can People (written for a young activists' company), denounces capitalist society's ideology of death. It shows a community of survivors living on an infinite supply of canned food running berserk when they feel threatened by a stranger and destroying all they have as in a reduced nuclear war. The third, Great Peace (written for the RSC) re-enacts the Palermo improvisation in a city barely surviving in the aftermath of nuclear bombardment. It focuses on a soldier who kills his baby sister and his mother who tries to kill her neighbour's child to save her own. The play then follows her twenty years later, in the sterile global wilderness that nuclear war has made of the world, where she rebuilds her humanity bit by bit by meeting other survivors. Mangan commented that the 1995 Odéon-Théâtre de l'Europe performance of The War Plays was quite successful, and that in France the work "was described as the most important play written since the Second World War." In 1996, however, Janelle G. Reinelt described the reception as "chilly". These desperate efforts to stay human or be human anew in an inhuman situation would be the purpose of most of the characters in Bond's subsequent plays, the scope of which will be to explore the limits and possibilities of humanity. His next play, Jackets, again uses the Palermo improvisation and sets up a confrontation between two young men manipulated by military conspiracies, first in medieval Japan, then in contemporary urban riots. Sometimes the portion in medieval Japan and the portion in Britain are referred to as Jackets I and II, respectively. The Guardian’s theatre reviewer Robin Thornber praised Jackets as "an astonishingly powerful piece of political, polemical poetry". In 1993, Christine Shade listed The War Plays and Jackets as Bond's "best-known works". In 1998, Richard Boon dubbed Jackets a "very good" play (as he did with Human Cannon). However, Maxie Szalwinska wrote in The Guardian, after watching a performance at Theatre503, that "the awareness that this is minor stuff slowly but surely leaks in. [...] his weakness for point-making gets in the way of his characters." In the Company of Men shows a desperate fight by the adoptive son of an armaments factory manager to be who he is in a cynical, intrigue-ridden neo-liberal business world that Bond considers the