Helder Guimarães (Photo by Jeff Lorch)
Reviewed by Dana Martin
Geffen Playhouse
Extended through June 30th
RECOMMENDED
Magician Helder Guimarães never takes freedom for granted and uses his own life story to grapple with truth vs. illusion, love, magic and what it truly means to be free. The Hope Theory, his newest production created in collaboration with legendary producer/director Frank Marshall and the Geffen Playhouse, is a magical night of theater.
Guimarães stands, in disarray, amidst the domestic rubble of his first Los Angeles apartment and slowly finds order to his life, to his own story. He tells of how he immigrated from Portugal to the United States in 2011, along with his life partner, Catarina. Guimarães was the first baby born in his family post-revolution and, as a result, he understands the true importance of freedom, which he deems the most important societal value. He uses magic to illuminate his point, chronicling the trajectory of his life and career whilst navigating the complications of legal immigration, cultural misunderstanding and industry underhandedness. He recounts his early acclaim at the Magic Castle where his career was quickly launched and where his alliance with the Geffen and Mr. Marshall was forged.
There’s a lot to unpack in this story, which is reenforced by the metaphor of establishing a home. The set represents his first studio apartment in L.A. which Guimarães constructs throughout the evening. It’s an apt activity but it keeps the play’s pace at a constant, disrupted only when Guimarães performs his illusions. These detours invite an intimate glimpse into his persona and his magical expertise — he’s playful, at-times demanding, with a biting sort of wit and a good connection with the audience. He uses a lot of audience participation throughout the performance, with some audience members more willing than others. Nevertheless, participation is non-negotiable, and the most successful part of the performance.
Director Frank Marshall crafts an entertaining and well-rounded evening. Martha Carter’s lighting design is simple and straightforward. François-Pierre Couture’s set design provides activity and intrigue. Playwright/performer Guimarães is a master of his craft and his illusions are quite something to behold. Yet the magic sometimes feels out of sync with Guimarães’ autobiography at times — two separate yet equally compelling narratives. His story is fascinating too; each aspect of his storytelling merits a rich evening of theater.
The Hope Theory is the fourth collaboration between Guimarães and Marshall. The dynamic duo first produced Invisible Tango together at the Geffen in 2012, followed by The Present. At the height of the pandemic, they produced (in collaboration with the Geffen) a virtual production called The Future; it proved a massive hit which ran for 215 performances.
But this auto-biographical incarnation hits closer to home for Guimarães. While he’s most at-home within an illusion, the magic of his story is his radical hope, his personal truth and his commitment to never take freedom for granted.
Geffen Playhouse, 10886 Le Conte Ave., L.A.; Wed.-Fri. 8 p.m., Sat., 3 and 8 p.m. Sun. 2 and 7 p.m.; extended thru June 30. Spanish language shows May 8th, 8 p.m. May 8, May 19, 2 p.m. June 7; 8 p.m. (310) 208- 2028 or geffenplayhouse.org. Running time: 1 hour, 20 minutes with no intermission.
