The play opens in the simple home of Kĩgũũnda, Wangeci, and their daughter Gathoni. Kĩgũũnda and Wangeci are eagerly awaiting visitors. Wangeci prepares food, Kiguünda is busy mending a chair, and Gathoni arranges her hair.

Kĩgũũnda gazes at a title deed for the acre and a half of land he owns after picking it up from the floor where it has fallen. The land holds significant value for him. It represents a sense of ownership and pride. Despite this, Kĩgũũnda and Wangeci bicker a little about their financial struggles.

A hymn from a religious group outside interrupts the household. This group comprises mainly poor villagers seeking contributions to building a church. Kĩgũũnda expresses his frustration with the influx of various religions and their fundraising efforts. He questions the necessity of building more churches in the village.

We can hardly afford to feed our bellies.
You think we can afford any for haraambe?

Kĩgũũnda playfully reminisces about his past, singing and dancing the Mücüng'wa dance. This nostalgic moment is embodied through actual dancers on stage to provide a vivid contrast to the present struggles faced by the family.

An expected visit from Kĩoi and Jezebel, who are quite wealthy, is the reason for the morning's activities. Kĩgũũnda and Wangeci wonder why this couple should pay them, who are much poorer, a visit. They presume they may want to arrange a marriage between their son, John Mũhũũni, and Gathoni. The two have been showing interest in each other. Kĩgũũnda and Wangeci believe that John's attentions have made their daughter too "modern" and shallow. However, they also wonder if Kĩoi wants to buy their land to build a factory.

As the preparations continue, a sudden interruption occurs as a car honks from the road. John Mũhũũni has arrived. Gathoni is called out, raising further suspicions and discussions about the intentions of Kĩoi and Jezebel, who have never visited. The atmosphere becomes charged with speculation about potential romantic interests.

Gathoni expresses resentment towards her mother's control and exploitation of her wages.

Mother, why are you insulting me?
Is that why you refused to send me to school, 
So that I may remain your slave,
And for ever toil for you?
Picking tea and coffee only for you to pocket the wages?

The scene transitions into a nostalgic dance, recalling carefree days of the past. The dance shifts to a reflection on the struggles for freedom during the colonial era. Kĩgũũnda and Wangechi reflect on the challenges they faced during the state of emergency in Kenya. Kĩgũũnda describes the oppressive laws, arrests, and violence they endured.

The conversation shifts to the present as they discuss their struggles in post-independence Kenya. Kĩgũũnda laments losing his family land, becoming a laborer, and facing poverty. Wangechi urges him to focus on the present and future.

Gĩcaamba and Njooki, a worker, and his wife arrive and join the conversation. Gĩcaamba passionately criticizes foreign-owned companies. He describes harsh working conditions, exploitation, and the lack of benefits for the workers. Njooki cautions against Gathoni's relationship with Kĩoi's family:

Ask Gathoni to cut off that relationship.
Rich families marry from rich families,
The poor from the poor!
Can't you see that the children of the big men,
And of these others who brag that they are mature men
All go to big houses!

Soon, Ahab Kĩoi and Jezebel arrive. With them are Samuel Ndugire and Helen, who have recently become wealthy. There is a clear contrast in their attire, which shows their different socio-economic statuses. Kĩoi and Jezebel are dressed extravagantly, while Ndugire and Helen wear simpler clothes. Gicaamba and Njooki leave...