A certain air of enthusiasm, hope and expectation fills the room where the women have gathered. They bring food for lunch and a bottle of wine to celebrate the achievements of the first phase of the project, culminating with the script that they will hear for the first time today. They bring video recorders and cameras to document the process. They bring recorders to interview the actors and a computer to show the web page that was created to connect the project locally, regionally and internationally.

The Costa Rican playwright, Roxana Campos, reads the script while the rest listen attentively and follow along with copies in their hands. Little by little the butterfly's cocoon opens in front of their expectant eyes.

“The play unfolds with a full jury on stage. Three judges pound a large table, asking for silence. Backs turned, several women demand justice, while at the back of the stage, a multimedia projection features two people from the play. One of them is Lucy who turns toward the audience. The other women on stage slowly do the same and sit on a bench. The judges are quiet…”

Almost simultaneously, Guadalupe Urbina's first musical production begins with the sound of wind and rain, the sounds of prehistoric animals from Lucy's ancient era; Lucy is the most complete and oldest skeleton of an adult hominid Australopithecus afarensis , more than three million years old.

Lucy is here to tell us, with her millions of years of experience, about the history that even now we don't know about: the contributions of females in the evolution of the human species and of women in science, culture, politics and more.

Observing everything around her, listening to the sounds of nature, Lucy makes the first “pre-linguistic” sounds: an imitation, perhaps communicating with the rest of nature, through the guttural reproduction of its sounds. She whistles the wind. She roars the river. She holds, in her evolving pre-human vocal cords, the vibration of raindrops that fall on her body, interacting in her own way with the beings that respond to her.

But Lucy changes. She is a character from humanity's pre-human history re-appearing later when she was "discovered" in 1974 by anthropologists in Ethiopia. From the museum that houses her now, in the capital city of the country that saw her born and re-appear, Lucy narrates the story in the play. She introduces different women from the past and the present. Women from all regions of the planet, women from all times. Lucy tells us what has happened to these women and what they have given to us. “We must listen to their stories,” she insists.

As she end of the reading of the script, Roxana, the script writer, says:“It was not easy to choose the women that appear in the script, because the book it is based on includes many more women and they are all important and interesting. The book shares the experiences of many women that I personally was unaware of and they have enriched my life.  But I couldn't use all of them. We are going to have to create many more plays in addition to “Wings of the Butterfly.” And because I am certain that when audiences see the play in the many countries where it will be performed, people will send us the names and histories of women from their countries whose lives were similar and who have made contributions that many of us have forgotten.”