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Godfrey with his puritan strictures, forces the family to the belief of the living messiah. He even scribbles question, which he believes will arise when he eventually meet the Father for one-on-one, a situation that does not materialize at all.
A new them is brought forth when Lily is introduced; the theme of communism. There is a turn of events when Lily, the sister-in-law to Godfrey enters. The play describes her as a juke-joint maven (a term used to describe joint places of the blacks, associated with disorderliness) who has been brought in to take care of Ernestine and Ermina and also to provide guidance to the two. She begins to set up unwelcome residence. They fall apart with Godfrey, who detests her flirting habit and lavish lifestyle, and more so, her communist ideologies, which Ernestine takes as the sole truth. One can tell that Lily has planned to rekindles the history that they had with Godfrey, and to be more than just a surrogate to the girls. She intends to get intimate with Godfrey, a situation that forces Godfrey to move out of the house and gets into unprompted marriage with the Gerte, a white German.
Refinement is definitely not the maxim for this play. Though the play was initially commissioned as part of the plans targeting the teens, which was never a surprise, nonetheless it never came as a bad thing. Through the presentation of invigorating topics that surround a family portrayed with diverse character, Nottage successfully manages to soften what one would refer to as educational pummeling. Equally, the manner in which Nottage has structured the scenes around Ernestine narrative references to house, clearly, one is reminded of the these events resonates with the with the interpretation of events by teenagers, at a time when the shades of age was hard to come by.
At this end, the theme of injustice is brought about. As Ernestine
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