Comedic Exploration of family and motherhood at hartford stage's laughs in spanish
By Kiersten Bjork (March 21, 2025)
Laughs in Spanish by Alexis Scheer, playing at Hartford Stage now through March 30, is a hilarious yet touching comedy that explores familial relationships, motherhood, womanhood, and the experience of code-switching through a Latine lens. It’s quick, witty, and sharp, blending humor with emotional examinations of what it means to be a mother and a daughter, all set against the backdrop of Wynwood, Miami’s vibrant art scene. The talented cast handles the fast-paced material well, delivering a wonderful performance packed into an efficient 90 minutes with no intermission. The production is directed by Lisa Portes, who infuses the production with dynamic staging and creative choices.
Laughs in Spanish follows Mariana (Mari), a young woman running an art gallery in Miami, as she realizes that the collection for that evening’s showing as part of the Art Basel festivities, has been stolen. Gallery assistant Carolina (Caro) insists she is innocent, and her boyfriend, local cop Juan, confirms, suggesting that Caro’s work be displayed that evening to replace the missing art. As Mari desperately tries to get the impending event back under control, her exuberant actress mother, Estella, descends on the gallery, bringing with her Jenny, a flame from Mari’s past, and a mother/daughter dynamic that is reminiscent of a ticking time bomb. What ensues is a colorful and at times expletive-laden comedy that will have you in stitches, while in other moments bringing you to tears. It’s a story of family, of the questions, struggles, and sacrifices of motherhood, and of the experience of living along that line of code-switching, depending on who you’re around and where you are. Laughs in Spanish dances expertly from English to Spanish, and the production delivers a veritable feast for the senses, from dialogue to music, costumes to set.
Laughs in Spanish by Alexis Scheer, playing at Hartford Stage now through March 30, is a hilarious yet touching comedy that explores familial relationships, motherhood, womanhood, and the experience of code-switching through a Latine lens. It’s quick, witty, and sharp, blending humor with emotional examinations of what it means to be a mother and a daughter, all set against the backdrop of Wynwood, Miami’s vibrant art scene. The talented cast handles the fast-paced material well, delivering a wonderful performance packed into an efficient 90 minutes with no intermission. The production is directed by Lisa Portes, who infuses the production with dynamic staging and creative choices.
Laughs in Spanish follows Mariana (Mari), a young woman running an art gallery in Miami, as she realizes that the collection for that evening’s showing as part of the Art Basel festivities, has been stolen. Gallery assistant Carolina (Caro) insists she is innocent, and her boyfriend, local cop Juan, confirms, suggesting that Caro’s work be displayed that evening to replace the missing art. As Mari desperately tries to get the impending event back under control, her exuberant actress mother, Estella, descends on the gallery, bringing with her Jenny, a flame from Mari’s past, and a mother/daughter dynamic that is reminiscent of a ticking time bomb. What ensues is a colorful and at times expletive-laden comedy that will have you in stitches, while in other moments bringing you to tears. It’s a story of family, of the questions, struggles, and sacrifices of motherhood, and of the experience of living along that line of code-switching, depending on who you’re around and where you are. Laughs in Spanish dances expertly from English to Spanish, and the production delivers a veritable feast for the senses, from dialogue to music, costumes to set.
Maggie Bofill in Laughs in Spanish at Hartford Stage, 2025 (T. Charles Erickson)
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María Victoria Martínez and Luis Vega in Laughs in Spanish at Hartford Stage, 2025
(T. Charles Erickson) |
Mariana is played by Stephanie Machado with strength, precision, and poise – until she brilliantly tosses that out the window in the moments in which Mari cracks, the pain and anxiety leaking through the put-together pantsuit and image she has carefully curated. Machado’s performance is beautiful. She evokes the range of feelings that Mari experiences, delivering a full, nuanced portrayal that the audience feels deeply. She has us laughing, and then she has us gasping as we recognize the weight of the past she holds bottled up, revealing the humanity that we can all relate to.
Opposite Machado as Mariana’s mother, Estella, is Maggie Bofill, who also delivers a powerhouse performance. Bofill enters with gusto from the very first moment, driving the show forward with a vibrant energy that fills each scene she’s in. One of my favorite moments of the production is Bofill’s delivery of Estella’s monologue at the reception following the art show, telling the story of how she met God in a bar. Bofill is stunning to watch as she weaves the story before our eyes via her choices and the support of the lighting, sound, and scenic teams. She is an incredibly dynamic performer and is a delight to watch from start to finish.
María Victoria Martínez’s portrayal of Caro is skillfully layered. In one moment, she gives us the fierce graduate student, standing her ground on even the simplest of matters, and in others, she peels back the strength to show the fear and uncertainty of what lies ahead of her. Martínez’s Caro is spunky, and it’s fun to watch the range of relationships she explores throughout the show, from facing off against Mari in arguments, to fangirling over Estella, to talking about her future with Juan. She is energetic and spirited, and I felt that some of the most touching moments of the piece were in the final scenes between her and Juan.
Luis Vega is endearing as Juan. Vega and Martínez play off of each other well throughout, and Vega gives us fantastic deliveries of some of the funniest lines in the show. He plays up the laughs on his cop-related humor, particularly the recurring use of the police lights and sirens to get places quickly. One of my favorite moments in the show is Juan and Estella’s conversation about parenting, and even though the comedy is key to the performance, these moments of stark sincerity are perhaps what stand out the most. Vega balances the laughs with the down-to-earth, human moments beautifully.
Rounding out the company is Olivia Hebert as Jenny, Estella’s personal assistant. Jenny stands in stark contrast to the other four characters as the specifically Caucasian-American character, while Mari, Estella, Caro, and Juan are Latine. Her entrance into the world of the show is intriguing to watch, as she doesn’t necessarily have to navigate the code-switching systems in the way that we have seen the other characters doing up until this moment. Hebert inhabits the role of Jenny quite well, giving a grounded performance that is filled with a soft joy, all framed by the quirky and stylish costume choices for the character. I particularly enjoyed her revelation to Mari of how she ended up as Estella’s assistant; her delivery of the sunflowers monologue is lovely.
Opposite Machado as Mariana’s mother, Estella, is Maggie Bofill, who also delivers a powerhouse performance. Bofill enters with gusto from the very first moment, driving the show forward with a vibrant energy that fills each scene she’s in. One of my favorite moments of the production is Bofill’s delivery of Estella’s monologue at the reception following the art show, telling the story of how she met God in a bar. Bofill is stunning to watch as she weaves the story before our eyes via her choices and the support of the lighting, sound, and scenic teams. She is an incredibly dynamic performer and is a delight to watch from start to finish.
María Victoria Martínez’s portrayal of Caro is skillfully layered. In one moment, she gives us the fierce graduate student, standing her ground on even the simplest of matters, and in others, she peels back the strength to show the fear and uncertainty of what lies ahead of her. Martínez’s Caro is spunky, and it’s fun to watch the range of relationships she explores throughout the show, from facing off against Mari in arguments, to fangirling over Estella, to talking about her future with Juan. She is energetic and spirited, and I felt that some of the most touching moments of the piece were in the final scenes between her and Juan.
Luis Vega is endearing as Juan. Vega and Martínez play off of each other well throughout, and Vega gives us fantastic deliveries of some of the funniest lines in the show. He plays up the laughs on his cop-related humor, particularly the recurring use of the police lights and sirens to get places quickly. One of my favorite moments in the show is Juan and Estella’s conversation about parenting, and even though the comedy is key to the performance, these moments of stark sincerity are perhaps what stand out the most. Vega balances the laughs with the down-to-earth, human moments beautifully.
Rounding out the company is Olivia Hebert as Jenny, Estella’s personal assistant. Jenny stands in stark contrast to the other four characters as the specifically Caucasian-American character, while Mari, Estella, Caro, and Juan are Latine. Her entrance into the world of the show is intriguing to watch, as she doesn’t necessarily have to navigate the code-switching systems in the way that we have seen the other characters doing up until this moment. Hebert inhabits the role of Jenny quite well, giving a grounded performance that is filled with a soft joy, all framed by the quirky and stylish costume choices for the character. I particularly enjoyed her revelation to Mari of how she ended up as Estella’s assistant; her delivery of the sunflowers monologue is lovely.
Olivia Hebert and Stephanie Machado in Laughs in Spanish at Hartford Stage, 2025
(T. Charles Erickson) |
Maggie Bofill with María Victoria Martínez and Luis Vega in rehearsal for Laughs in Spanish at Hartford Stage, 2025 (Molly Flanagan)
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Scenic design by Brian Sidney Bembridge is an incredibly effective vehicle for telling this story. For much of the show, the set is a white/off-white color, with very little furniture or accents. Mari’s desk–a unique piece in itself that becomes the source of some great physical humor early on–is one of the only elements included in those first scenes, and even her accessories are white. It is only when things have gone horribly wrong (or perhaps chaotically right?) that color bursts forth in the set, filling the gallery space with a lively pallet of colors and textures that immediately engage the viewer further, encouraging us to lean in and feel that tonal shift that has occurred in the story, now also reflected in the design. Lighting designer Sherrice Mojgani builds upon the scenic design beautifully, accenting the art gallery with practical gallery lighting before also leaning into the colorful shifts later in the piece.
Original music and sound design by Daniela Hart/UptownWorks add an extra layer of energy to the piece. Music is utilized through much of the show, from the pre-show music, to the songs during scene changes, to the dance music in the show itself. The balance is executed perfectly for the space, and the music choices really elevate the production overall.
Costumes by designer Harry Nadal are well-suited to the respective characters, building upon and reinforcing our perceptions of their personalities via their clothing. I loved the pops of color used throughout, from Mari’s blue pantsuit and pink dress to Jenny’s leather jacket and Caro’s patterned dress at the end of the show. The contrast of the colors against the stark white/off-white coloring of the set for much of the show gives them an extra pop that really draws the eye to the actors.
Original music and sound design by Daniela Hart/UptownWorks add an extra layer of energy to the piece. Music is utilized through much of the show, from the pre-show music, to the songs during scene changes, to the dance music in the show itself. The balance is executed perfectly for the space, and the music choices really elevate the production overall.
Costumes by designer Harry Nadal are well-suited to the respective characters, building upon and reinforcing our perceptions of their personalities via their clothing. I loved the pops of color used throughout, from Mari’s blue pantsuit and pink dress to Jenny’s leather jacket and Caro’s patterned dress at the end of the show. The contrast of the colors against the stark white/off-white coloring of the set for much of the show gives them an extra pop that really draws the eye to the actors.
Stephanie Machado and Maggie Bofill in Laughs in Spanish at Hartford Stage, 2025 (T. Charles Erickson)
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María Victoria Martínez and Luis Vega in Laughs in Spanish at Hartford Stage, 2025 (T. Charles Erickson)
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Stephanie Machado and Maggie Bofill in Laughs in Spanish at Hartford Stage, 2025 (T. Charles Erickson)
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Laughs in Spanish is an engaging and humorous production that will not only make you laugh but will also remind you of the unique beauty of family, forgiveness, and pursuing your passions. Don’t miss this wonderful play at Hartford Stage – see Laughs in Spanish now through March 30, 2025.
Laughs in Spanish plays March 6-30, 2025, at Hartford Stage in Hartford, CT. Learn more and purchase tickets at hartfordstage.org/laughs-in-spanish or by calling the Box Office at (860) 527-5151.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Laughs in Spanish plays March 6-30, 2025, at Hartford Stage in Hartford, CT. Learn more and purchase tickets at hartfordstage.org/laughs-in-spanish or by calling the Box Office at (860) 527-5151.
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.