This chapter analyses those of Jack Rosenthal's plays, such as Spend, Spend, Spend, The Chain, Moving Story and Bag Lady, where an unusual dramatic structure matches the plot. In all four plays, unusual or experimental form does double duty in complementing or even constituting the plot. In Spend, Spend, Spend and The Chain, structural experimentation arises from the plays' concern with British class formations. The Chain's plaited structure emphasises interconnections between people at either end of the social scale. In both Moving Story and Bag Lady, class distinction and social injustice are unexplored backdrops in plays, which are more concerned with narrative. Moving Story is the pilot for a series, and as such sets up open-ended subplots and exaggerated character traits among its dramatis personae; while Bag Lady is an interior monologue made audible, which exists in order to fall silent with the completion of a quest.