Review: SUNNY DAYS at The VORTEX Theatre

The VORTEX Theatre, funded in part by the National Endowment for the Arts, Save Our Springs Alliance, Six Square-Austin’s Black Cultural District, the City of Austin Economic Development Department, and the Texas Commission on the Arts, presents the world premier of Reina Hardy’s SUNNY DAYS on their “Eloise" Stage this fall. A powerful new work, combined with impressive acting and direction, this play tackles issues of human rights and climate crisis while incorporating multiple forms of puppetry (traditional Muppet-type puppets, sock puppets, shadow puppets, paper puppets, and a GarBarge made of trash). 

In form, Hardy's SUNNY DAYS is a sophisticated dramatic triptych that juxtaposes the ostensibly “sunny” and optimistic veneer of children's television with the stark and sobering realities of global and local crises. The play delves into issues such as the trauma of family separation in immigration contexts, the geopolitical strife exemplified by the Kosovo/Albania conflict, and broader societal challenges like global warming and pollution. Hardy constructs a fictional counterpart to Sesame Street, called ABC City, whose puppeteers are tasked with delivering hope to children ensnared in these dire circumstances. Through the narrative, Hardy explores the disjunction between the idealistic aspirations of the puppeteers and the harsh realities they confront.

The play starts with a failed attempt to establish a co-production of ABC City in war-torn Kosovo. The producer's interactions with local intellectuals and the naïveté of the American team are portrayed with sharp, dramatic writing. The second act shifts focus to a migrant detention center, where the main character, Ricky, struggles with the cruelty of the situation despite his success as a puppeteer. His emotional conflict emphasizes the limitations of idealistic efforts in the face of real-world atrocities. The final act, set in a dystopian future, becomes increasingly convoluted as it relies on lengthy sequences and symbolic representations like "The GarBarge."

Award-winning director, Rudy Ramirez, and their assistant director, Olivia Rose McClain, have inspired some of the finest acting in Austin to bring this script to life and into our hearts. 

SUNNY DAYS relies significantly on Michael Galván (Ricky, Captain Pickle, and Mr. Pickle), and Galván meets this challenge with remarkable skill and authenticity. Their portrayal of Ricky is deeply evocative, capturing a range of emotions from exuberant joy to profound heartbreak, and providing the essential continuity across the three acts. Galván’s expertise as a puppeteer is immediately apparent, beginning with the inventive use of a table name plate as a puppet to introduce Ricky’s character. This early moment sets a tone of humor and humility that defines Ricky's persona throughout the play.

Galván’s performance also eloquently underscores the transformative power of puppetry, as encapsulated in Ricky's reflection: “Puppeteering brings out the child inside us… takes the best of what we are and shares it with the world.” This sentiment resonates powerfully, inviting the audience to reconnect with their own sense of play and wonder. The emotional depth of Galván's portrayal is particularly poignant in scenes such as Ricky’s interaction with the imaginary Gabriela in the detention center, and when he relinquishes his puppet as a symbol of hope for Gabriela. These moments highlight Galván's ability to convey both the joy and the sorrow inherent in Ricky's journey, enriching the narrative with a profound sense of empathy and authenticity.

Jelena Stojiljkovic Rhynes (Katarina, Marcy, Plastic Bag, and Seagull) delivers a compelling and multifaceted performance. Her portrayal of Katarina is marked by a palpable intensity, effectively conveying frustration, anger, and anxiety, which immerses the audience in her harrowing experiences of war, societal condemnation, and fear. This dramatic depth is skillfully balanced by her portrayal of the Plastic Bag in the brief yet exceptionally humorous weather reports, showcasing her versatility and comedic timing. Additionally, her depiction of Marcy is both light-hearted and convincing, demonstrating a seamless rapport with the puppet Campbell and adding a layer of charm to her performance.

Trey Deason (Yiber, Kent Even, Lawyer, and Seagull) offers a noteworthy performance, particularly in his role as Yiber, a Serbian character profoundly affected by the trauma and displacement resulting from the Kosovo-Albanian conflict. His portrayal of Yiber is both nuanced and powerful, capturing the deep emotional impact of the character's experiences. Additionally, Deason excels in his role as the Lawyer puppet, infusing the character with a distinctive blend of dark humor and fatalism as he addresses the grim realities faced by child clients in migrant detention centers. His versatility and skillful execution of these contrasting roles highlight his exceptional range as an actor.

Stephanie Delk (Iyvon, Campbell, and The GarBarge) gives a remarkable performance, demonstrating a commendable range and depth. As Iyvon, her portrayal of a peace-seeking character is executed with impeccable timing and genuine empathy, effectively drawing the audience into the narrative of the first act. Delk’s warmth and nuanced acting invite viewers to engage with the character's struggles and perseverance. In the second act, she skillfully embodies the insecurity of the puppet-director Campbell, adding a layer of complexity to her role. Her portrayal of the larger-than-life puppet GarBarge, enhanced by innovative vocal effects, is particularly outstanding, showcasing her exceptional talent and versatility.

Madison Paloma (Pink Sock, Little Gabi) also presents a commendable performance, providing both levity and depth to her roles. As the news announcer Pink Sock, she brings a refreshing sense of humor and lightness to the production. Later, her portrayal of Little Gabi is marked by a poignant sense of childlike wonder, hope for a better future, and genuine innocence, effectively capturing the emotional core of the character.

Set within the versatile Eloise black box stage, the design elements of this production are notably impressive. Anne Marie Gordon’s set design is both flexible and functional, adeptly accommodating a variety of settings while providing sufficient space for the GarBarge puppet. Lydia Giangregorio’s design of the GarBarge, which received enthusiastic acclaim upon its reveal, is a standout feature. The creative contributions of other puppet designers, including Jelena Stojiljkovic Rhynes, Olivia Rose McClain, Eel Black, and Melissa McKnight, result in a diverse array of remarkable puppets, each exhibiting distinct levels of complexity and form. Patrick Anthony’s lighting design is sophisticated and well-suited to the narrative, effectively highlighting the desolation of the first act's third day, the symbolic lighting of Gabriela’s detention cage in the second act, and the contrast between the interior and exterior of the GarBarge in the final act. Johann Solo’s sound design further enhances the production, seamlessly complementing the performance and transitions.

As a friend aptly observed, this production resonates deeply, compelling its audience to confront the stark juxtaposition of fervent, possibly misguided optimism against the backdrop of tragedy and real-world events. One particularly poignant moment occurs when Mr. Pickle tells Little Gabi, "We had a whole planet to give you, and we left you with an idea." This line encapsulates the production’s underlying message, urging us to reflect on the profound implications of our choices both as individuals and as a society. I highly recommend this performance, though it is important to note that it is not intended for children. The show includes strong language, references to violent acts, and intensely descriptive tragic dialogue. 

SUNNY DAYS

Written by Reina Hardy

Theater Company: The VORTEX Theatre

Venue: 2307 Manor Road, Austin, TX 78722

August 22 - September 14, 8:00 p.m.

Running Time: 2 hours, 30 minutes with one 15-minute intermission

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