The world of Mara and Lenu, our two protagonists who are not girls, but not yet women, is a world where, just like Barbie, they can be anything, but this is where all their similarities with Barbie (2023) end. When asked for their opinion on Barbie, they say that, even though they laughed at some of the jokes, Daisies (1966) is still their favorite movie because Marie and Marie know how to bust the balls of old farts better. Mara and Lenu don’t play with Barbies anymore, but still haven’t had their first period yet. The rules of their game are dumb.

Mara and Lenu’s humor is darker and more politically incorrect than Barbie’s, because Mara and Lenu like to take the piss, with equal fervor, out of chauvinistic jokes, absurd instances of the degradation of women around the world, horrible stories from the domestic Croatian context, but also never miss an opportunity to put each other or themselves down. They are deliberately annoying, lying, immature manipulators who whine and lie, all the while laying it on thick and hamming it up. They are all witches, after all.

The play enters into a dialogue with the current climate in Croatia and similar terribly postmodern terrible societies, in which men kneel for the lost chastity of women, and one woman experiences a public lynching because she wants to save her life with an abortion. Mara and Lenu fart and burp at such a world, because they know they can – they are, after all, little girls who don’t know anything about the world yet, though perhaps that’s precisely the point.