Voice, at once or alternately seducer and assailant, comforter and adversary, has been stageable since its dramatic appearance in Molloy, where in some respects it remained constrained, unembodied on the page if not performed in the imagination. It made its escape, its liberation en plein air, with the radio play All That Fall in 1957 and Embers, written in 1957 as well but performed by the BBC only in 1959 (both now regularly performed as stage works, the former recently staged by Out of Joint in 2015–16 as ‘A theatrical journey into darkness’, with audience members blindfolded). Almost concurrently Beckett began a further technological exploration of voice on stage as the recorded voices of Krapp-past in 1958. From 1957 onward, then, Voice moved freely from page to stage, the line dividing Beckett's prose narratives from his radio texts and stage monologues grew fainter, was at times imperceptible, as Beckett began to explore the performative possibilities of Voice as thoroughly as he had explored its fictive possibilities in the post-war suite of novels, Molloy, Malone Dies and The Unnamable, and such experiments would continue through Rockaby, That Time and What Where as well as in the television plays. Liberated from whatever restrictions the page imposed, Voice would never again be content to sit mute, and it makes appearances again in the last two theatrical projects that sustained Beckett's interest: the adaptation of the novella Company to the stage and his revisions of What Where, first for television, and then again for the stage, and yet again for television, but it comes to the fore in Beckett's own stagings, as early as 1967, for his Endspiel (Endgame), as well.