Two women, one older than the other, appear on stage, while on screen we see the same two women on the same empty stage. The older of the two addresses the public, explaining that the performance she is about to put on with her daughter will take the form of improvisation. At the same time, on screen, she presents the stage manager, who will be providing light and sound effects during the show. The result is a formidable face-to-face between mother and daughter, both of whom are actresses but neither of whom are truly acting.

One of the last words spoken by the main characters is 'theatre'. The theatre itself is central to the play, providing a melting pot of discord, ambiguity, indecision and doubt. Drawing on the concerns of a number of leading contemporary French authors, from Koltès to Minyana, Hrafnhildur Hagalin gives her own interpretation of the incapacitating nature of an unsolved tragedy. This is a world far removed from the Electra of tragedy, or, for that matter, from Giraudoux. This is a world far removed from theatre tailored to the notion of resolution. Here, the theatre is stripped of its devices, even leaving room for visual images. Gone are the illusions, the characters, the décor, the fiction. This is the theatre of presentation and openness, or, more specifically, the presentation of openness. Strangely, however, this openness never leaves a vacuum, perhaps due to the ever-present threat of such a void. This is a theatre that gives free rein to acting that is pure, sincere and free of discourse. Acting for acting's sake. Acting that is in turn harsh, tender and humorous. An endless game of hare and hounds with unlimited possibilities, enough to make the head swim. Hagalin even goes as far as to suggest transvestism as the answer to the identity crisis of modern society.
The play is written like a musical score, ending in a crescendo. Similarly, the rhythm of the language often takes precedence over the meaning: ellipses, repetitions of words, phrases and sequences that sometimes are only vaguely related, providing variations on a theme. Theatre or obsession with emptiness?