Women are constantly struggling to be something (someone?) more than just a picture, a screen on which unrealistic expectations are projected. The author uses the biography of Sylvia Plath and the main character of the Bell Jar, Esther Greenwood, to create a bold and poetic piece that is an interpretation of the "sad girl theory".
The first part is devoted to the aspiring writer - Esther. Alksnin processes the tropes and motifs from Plath's novel, weaving in contemporary references to selfie-feminism, Lana Del Rey's ballads, carefully designed frames from popular social media or the language of popular magazines into the narrative. Greenwood is looking for a way to self-fulfillment, while struggling with unrealistic expectations. She is accompanied by a Nice Girl and a Naughty Girl, which might be her two contradictory internal voices. The second part of the play is devoted to Sylvia Plath. Plath treats her suicide as a kind of performance. She is aware of the consequences of this act - she knows that her death will turn into a dead, beautiful image transformed by culture and pop culture. No one will care about Sylvia's passing away, no one will be emotionally affected. The very physiological, disgusting aspect of dying will be aestheticised. Plath speaks not only as a woman, but also as an artist. She knows that her work (as opposed to her husband's) will be forgotten if she does not perform the memorable act. In this case, of course, it is taking her own life.