As to the writing itself, Walker’s story unfolds in the generally accepted mode of the traditional “well-made” play. Some possibilities have gone relatively unexplored; for example, as powerfully as Gabriela’s own birth is depicted, we learn next to nothing about her own child Luca’s birth, which took place only months before and could well be still a fresh reservoir of memory, image, pain, and feeling. From the newly uncovered grandmother, we also learn far too little about Gabriela’s birth parents. We see photos that uncannily mirror Gabriela’s face. But were they activists? Married? We do find out the father Agustín was a musician, but surely a distinguished cellist would want to know a little more about that—what instrument? Classically trained, an amateur, a songwriter, a public performer?