Suzan Zeder does an outstanding job of legitimizing the feelings and turmoil that a little girl goes through in trying to deal with the emotions that come with a major life change, which is the play’s theme. Ellie is used to having her father all to herself and now feels like she is in competition for his love. By writing Ellie as a more rounded, three-dimensional character, instead of the stereotypical two-dimensional brat, Zeder effectively pulls the heartstrings of adults while she sneaks in a lesson for children. Lucille is portrayed in all of Ellie’s fantasies as the bad guy: first, as a horrible singer who can’t even sing scales on key and is upstaged by her opera singer persona, then as a prison guard transporting her to solitary confinement, then the evil stepmother in Cinderella. Making her inner voice a separate stage presence, we are able to see Ellie’s (mostly) negative thoughts personified, which I thought was very effective. In the end, Ellie learns that sometimes love is not lost, but rather gained, when it is divided by three instead of just two.