No. deceptively simple subject, perhaps even trivial, become the occasion to stage a theatrical jewel? [...] We are in Naples, where poor conditions and low educational level are the main causes of degradation not only material but also and above all, the soul. Everything is dark on the scene, as well as dark are the faces and hearts of the protagonists are three, a father, mother and their only daughter. Quick glimmers of hope , desire to improve, timidly emerge only in the eyes of the latter's young daughter Pasqualina; soon disappear, swallowed up by real life, which has little hopeful. Many of the emotions you feel during the show are handled 
the eyes of Anna Palomba, extraordinary performer, fell well in the role of Pasqualina. The woman appears on stage narrating the facts of his miserable life, with a firm voice, almost monotonous movements calm hide, however, uncontrollable anger, accountable only to luce della comprensione del suo vissuto. L’interpretazione del ruolo di Pasqualina è l’occasione per l’attrice di mostrare al meglio una espressività che traspare con rara naturalezza già dallo sguardo, dalla mimica del volto. [...] The director has contributed to the great success of this work by creating a performance space thereof, capable of making the background of the ideological struggle between calm and anger, and shame of humanity. The work is beautiful because of its simplicity, for its simplicity. It is a journey into the human soul and human reveals all the hidden shadows. "
Fabio Dell'Aversana for teatro.org
“Sono f 
figure laying three distinct than different from each other: the mother Pasqualina (Anna Palomba), statuesque but not solemn, compassionate and ruthless at the same time, the daughter Carmela (Ilaria Cecere) of a mutilated beauty, without redemption , and in the middle, almost like a wedge, the father (Fedele Conan), arrogant and ruthless humiliating "his" women, but inwardly weak. They all rush to the scene contained in the microscopic universe, and that seems to live by iterations: the cracking of the whip of his father, the violence of the axes and tables overturned, harsh words like stones of the mother, the simulation of sexual acts suffered by her daughter . A compulsion to evil that can partially break up the barrier of the fourth wall, forcing viewers a more painful and visceral involvement. "
Clemente Tecchia for Caserta Musica e Arte
"In silence, screaming, and scenes of the concert the three damned souls roam excluding and absorbing them, pierced by a common substratum of the relationship of dependency, you end up die to the ground under the blows of a hand or gender, you end up banging it in a veil that degrades profiles changing the face of a distraught Lady Magdalene. For those os 
maid sitting on the bench holding the emotion, like indignation, it is difficult undertaking, as a whole is the vector of break. The set design creates an intimate setting in transverse direction, just where intimacy has no walls of protection. As a mobile structure, a house / cabin shakes the silence with his outbursts of wooden planks and the exclusion zone becomes of eyes, once closed, permanently, with many turns in order to play. "
Christian Iorio for Arteatro
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