After a three-month absence, Serge returns home to the whining, nagging, defeated voices of his hypochondriacal aunts, his three chronically dissatisfied older sisters and his deaf father, Gabriel. Serge, however, has reached a crucial decision : that he and Nicole, his youngest sister, should live their incestuous relationship openly. In an unexpected moment of reconciliation, Serge is able to tell his father how much he loves him and suggests that Gabriel come live with him and Nicole, leaving hypocrisy and bitterness behind. Inspired by musical structures, the play interweaves the family's voices in duos, trios and other vocal combinations.

« ARMAND : Maybe you don't know it, Serge, but that afternoon you gave me the most beautiful present… / CHARLOTTE : I'll leave her there to die. / ARMAND : You don't remember what you did? / CHARLOTTE : Too bad for her. / ARMAND : Ncole had just bought that new stereo... / GILBERTE : It's like the commercials... / ARMAND : ...and you took me into the parlour, and you sat me down in my chair… / GILBERTE : They try to make us believe all kinds of nonsense... / ARMAND : ...and you said... / GILBERTE : They think we're stupid... / ARMAND : "Listento this, Papa!" / GILBERTE : They can't fool me. I know it's all lies... / ARMAND : Then you put on a record... »

"(...) a rewarding, disturbing evening, cleverly displaying the case history of one of drama's stranger families." Clive Barnes, The New York Post, October, 1980.&r "This is a close family of uncomfortable, even dangerous, relationships. Tremblay makes their crises simultaneously ordinary, universal (sex, class and language all make themselves felt) and shattering on the scale of Greek tragedy. His dialogue is scalpel-sharp, setting up painful conflicts quickly and often with pungent humour." Jon Kaplan, Now, Toronto, August 20, 1992.