What a brilliant play Saved is, how well it has stood the test of time! Bond has succeeded in making the inarticulate, in their very inability to express themselves, become transparent before our eyes: their speechlessness becomes communication, we can look right inside their narrow, confined, limited and pathetic emotional world. This is the final step and the ultimate consummation of the linguistic revolution on the British stage: what a distance we have come from the over-explicit clichés of the flat well-mannered banter, the dehumanized upper-class voices of an epoch which now appears positively antediluvian…. (p. 174)

Saved is a deeply moral play: the scene of the stoning of the baby which led to the first outcry about it, is one of the key points in its moral structure. (p. 175)

In his own note in the published version of the play, Bond himself calls it an optimistic piece...