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Their personal lives -- the tepid affair between Theo and Babette that also seems little more than an outburst , Frank and Theo's longings for those who aren't interested in them any longer -- also offer no fulfilment.
The three provide support for each other, but mainly merely through their presences. Fear and doubt prevent them from truly relying on one another, and generous gestures -- like Frank offering Theo some ideas for catchy tunes for his Thrill-o-rama composition -- are cruelly squashed.
The play offers some dramatic arc, but it isn't really plot driven. The play is written with "line breaks, internal capitalizations, and lack of punctuation".
Gibson explains: These are intended as guidelines to the characters' thought processes, in terms of emphasis and pattern; they should be honored, but should not enslave the actor.
They also suggest to the reader what one might expect in the staged play better than the more conventional presentation of the text would have.
It does read quite well, because many of the scenes offer clever verbal bits. Gibson has a good ear for real-life dialogue, and many of the exchanges are fun.
The weakness -- especially on the page -- is in the larger whole, which doesn't come all too neatly together. This is probably easier to overlook when the play is performed rather than read.
In addition, many of the effects including the off-stage voices, Frank practicing with his auction tape, and a bit with a window that keeps getting opened and closed also surely work better in performance.