After she meets a hip young painter named Dedlig Erutuf, the poet Mary-Louise Imbeau becomes his muse, Eno Tsei-Levol. She puts her poetry on the back burner and poses for him. So begins the slow change that covers Mary-Louise's body with a gorgeous skin disease called Pearloid C. Mirror, mirror on the wall. Is there anyone left behind this beauty?

« ENO-TSEI LEVOL  : See my smile in the mirror on the face of | the other. | Her again! | Move away, further away, far from the reflection, | Bump into someone, | stop underneath a huge chandelier | that lights up suddenly. | Dedlig pulls off my cape. »

" In Filles de guerres lasses, Parenteau-Lebeuf creates a new set of heroines specific to her generation. With its emphasis on monologues, Filles de guerres lasses presents women in subject positions, telling their own stories about their own choices and consequences. In her poetic and polyvalent texts, Parenteau-Lebeuf takes on previous versions of Québécois feminism in order to explore what it means to her heroines to be both feminine and battle-weary. Through her heroines, Parenteau-Lebeuf reenvisions femininity through veil imagery." David J. Eshelman, Theatre Journal, Volume 58, Number 2, May 2006. (The Johns Hopkins University Press, USA)