Diversionary’s bold depiction of Brazilian mother raising queer son is hilarious, moving

For the past two years, Diversionary Theatre has begun its season with one-person, one-act pieces. With “Manifest P” and now “Ni Mi Madre,” the local queer theater ceded its stage to nationally tested performers, then brought its own theatrical production to the piece. These performances reveled in the specificity of their creator’s lives, while telling bold, hilarious, universal stories.

Thanks to Diversionary, Shakina’s musical, “Manifest P,” once a touring cabaret act, had puppetry, projections and multiple costume changes. Likewise, the new staging of Arturo Luíz Soria’s hour-long, one-act, comedic “Ni Mi Madre” enriched the piece, even with simpler scenic and costuming.

In particular, Krista Smith’s lighting design, with associate Ashley Rauras, animated spiritual and suspenseful moments through huge silhouettes projected behind Soria. Lighting and sound (Kathy Ruvuna with Kamila Nunez) also communicated the switch between characters, as Soria played his mother, himself, his father and his grandmother.

Soria’s clearly well-practiced performance switching voices, postures and expression achieved that goal as well.  

The majority of the creative team is based in New York City, including director Danilo Gambini, with local professionals as assistants. “Ni Mi Madre” premiered off-Broadway at Rattlestick Theater and went on to the Edinburgh Fringe Festival, then won Obie and Offie awards. Diversionary is holding its West Coast premiere.

Based on the character list and the title of the piece – Ni mi madre means not even my mother – it might be obvious that Soria’s stage takeover is an intergenerational tale about his immigrant family. The play is told through the lens of his Latina mother, who in trying to avoid the mistakes of her mother, fails to acknowledge her own. She reminisces about raising a queer son in an unfamiliar American culture using a mix of Portuguese, Spanish and English, while dancing to Cher and Gloria Estefan.

The play explores the way a mother can be a fierce advocate yet also a harsh critic. Soria’s mother fights for his right to dance ballet as a young boy, but also picks at his appearance, behavior and perceived betrayals.

The mantra “to be known is to be loved” resonates with me. It feels like anathema to know someone’s idiosyncrasies, quirks and character without holding, and treasuring, that knowledge in one’s heart.

I also believe it goes the other way: you can care for someone but not truly love them without knowing them.

I meditated on this philosophy of love as Soria flounced across the stage as his mother, wearing a sparkly medical boot and sharing her recollections. The depth of the depiction felt loving, even while not ignoring her authoritarian discipline and the outright annoyance she at times displayed towards her hyperactive son.

The detailed depiction of a parent who looms large over Soria’s life feels loving because of the deep knowledge from which it stems. So even as his mother’s flaws take center stage, the portrayal seems all the more loving for its authenticity.

Soria could have sugar-coated his childhood for the sake of his mother’s feelings, or over-dramatized her into a selfish villain. Instead, both the pain she caused and the pain she experienced in Brazil come through. Ultimately, he depicts her complexity as a human, with hilarious, moving and tragic moments.

The most powerful scene comes at the end, when Soria offers his forgiveness to his mother in a shared ritual. Experiencing someone’s flaws, yet seeking to mend the fractures anyway, felt like a great spiritual act that the audience was privileged to witness. It was also a great act of love.

“Ni Mi Madre” will be on stage at 4545 Park Blvd. through Sept. 6. Find tickets at Diversionary.org.