Most of the characters in The Balcony are seeking to be memorialized in an unforgettable way. George wants to be imitated by someone who wishes to play the role of the Chief of Police. One man in the brothel recreates elaborate visions of his impending, well-attended funeral. The rebels wish to overthrow the Royal Palace, instituting reform and thereby earning themselves a place in history. The man who plays the Judge fantasizes about his edicts being recorded in eternal law books. The Bishop forgives sins that affect the eternal condition of souls. The General has the power to kill, imposing his will and orders onto existence itself. Even Chantal gives in to the need to mythologize herself when she agrees to be the face of the rebel cause.

The need to be remembered seems to be linked to the fear of death that accompanies each fantasy. 

Reality and truth are almost indefinable in The Balcony. Much of the play takes place in an odd post-modern state where few statements can be taken at face value. Men of lowborn status masquerade as authority figures. Prostitutes serve as maids, horses, thieves, pious sinners in need of repentance, and shoe shiners.