The starting point of the play is the fragment of reality represented by a family entirely made up of women. The grandmother, the mother and the daughter. But the play expresses the point of view of the daughter, Martina. She is going through a transition period. For one thing, she “believes” the future is around the corner, in the offing. This frightens her as much as it fascinates her. For another, she still cannot let go of a past to which she is inextricably tied.
Martina is the creator of the scenes, in a world in which her mother and her grandmother contribute with their narration. It is as if they were her actresses, allowing her to create different scenes to narrate that network of motherly legacy in which she is involved.
Martina places the focus on the way these stories are told. On how the grandmother, the mother and the daughter can turn real life into fiction, blurring the limits between both. For every real life event, there is exaggeration, tragedy. So, these three women spend their time doing theatre. We see the theatre this family puts up.
Gradually, a fourth character emerges, at first we rarely see it, but this character will progressively take over the whole play. It starts with a minimal appearance and ends up being the one who calls the shots and directs the play from within. It is a friend of Martina’s. She modifies all the dynamics of the house.