For Soldier On, the audience partakes in the play directly when Conall gives his soliloquy . It can be delivered to the audience, which is the only time a character addresses them directly. When the soliloquy is delivered this way, the audience assumes the role of Andrew, Conall’s brother. Here’s where some time jumping happens. The characters partook in WW1, but the audience members are young enough to know people who fought in WW1 at the oldest. One might think the audience would be disjointed, but the soliloquy can actually be appropriated for other Irish conflicts: the troubles, etc. Or any civil war at all (rioting, etc.) The audience becomes aware of their experience with veterans and their struggles (even their own). James has the important role of representing the younger generation, whom all youths should connect with. Thus might help them understand the struggles of their parents or grandparents during WW1, the Troubles, the War on Terror, etc. The audience becomes concious of itself, and essentially the 4th collective actor in the play: Andrew.