Marg @/Duffi.eld (Lee R]emick) is t.he M_.-aine wife of Al (Joseph Sommer) w$hose daught$!e)/r Pe/%g (Marle\e Mat)lin) i/-s de af. Pe@g's/` ;husban,(d is `\killed `in a!\ car $
ac$
;)cident._ on the way to v @/is/it
 +the Mai]/+ne house, and the *[Duffield's \ take in P.+
e!,+g's si )x ;,ye@ar old daughter, Li\sa, while Peg reco$]vers. Since=! Lisa is a speak+.!in(%g,+/$ c* hild, Marg thinks of her the w(,ay[!  she want@ed Peg
to be, a!n d_ seeks gu:ar di?@an custody.　　Remick`?'s rol^#e .]is sec)ond^/ar-@y to Ma==tlin's,`, tho%:/ugh =she is present\,ed as a tragic fi`gu__) r\^e_!,^- ] p#^.art!
ic()u^larly as A%l refu?]@ses( ; to help\, her plan to gain Lisa. Peg's deafne#^ss is]= s.$aid to be @f\rom a c`/@h?]ildhood case of sp_:inal ) menin_gitis/$ , ;$*a
_%nd _,the tele%
play by Louisa Burn(%s= -: [Bisog!!$no, with story -=by Lo@%%uis?=*a and Tom Bisogno(, reduce:s Remick to a @t @ext=^+]book mothe:;
?r who i!s *s(elf-hati
,(ng from guilt and therefore \can not  ;/love `-her .own+  daughter. In a memorable scene, Peg angrily/!$ signs her exit to ),M#
arg, si
+nce Mar)g has .)re **fuse\ ;/d to learn si +gn!
lang*:uage, t` hou--gh @+?Peg ha!/)s learn ed to speak for %#
]h=er mother.　　The(% trea_tment uses the Tenne]see Williams/, play, ;The Glass Me^nageri@(e, for th;$er[+apy, to help Peg o verc#)ome her +grie$^f and,@ also Mar-%g `lo@/*;s(%e her unicorn hor\`:n' and `/%embrace her ` daught.@er.= Whi-;$lst [;Pe,g ch:;oos+:ing to act in t#+^his play may seem ^ an :^odd choice for someone gr#$ieving, what is mor(%e no[ti^`/cable is tha%t Matlin is ;,fa`r t;=oo more ?,gl
;amou*]rous t_o \be $[believable a
 )s L._[,aura. The :,@Biso*$gno's ,,^$incl-ude Mi)@,chael O'Keefe as Dan,:^ Peg!'s decea\)sed h^usband' #s best frien+!d \*and./ dir^\ector of Act,or s Theat``/re f)+or the D +eaf, to of$$^f? er Peg a _new romantic interest, and than-kfully s he re /b.ukes!) his pr
otest:ations of :lo\@ve. Al+]thou]*
gh his opinion may b e infl!( ue^nced by h;!:is `crush', Dan tells@ Peg? .[ that being different is better than being norm@al, since [ the normal` on es ar/e= as `c?ommon as weeds'. This philosophy reads as# rather Nietzschean, on the lev-el of artists not bei @n()g restri#cted to the commo/n moral code,:.　　Director  Karen Arthur ei%ther has those signing als=@o sp eaking _o-,r those\# ;`signing being^[ !;trans[lated\`^ for the audi+ence,; though in one s cene t_*he  sound of )l-:%apping wa):ves) $ drowns o^u: t  (\t/-he -;dialog( ue[ be)t `ween Da%)n/? and Peg. S ^)he also (gives Matl?]+in so]me goo@.d m@oments, one being= (he+r sc]rea=m of horror w/ /hen*[# sh)e hears the ne]+^ws_ of the death of her husband, and )
@an +@other when she ^-
chas,!es*: Remick down a fli/ght of steps, h#i.tti =*n%g her.