“Don’t take freedom for granted!” This saying is what Helder Guimarães heard from his parents at the dinner table as they recounted stories of their oppressive past in Portugal. Born after the Carnation Revolution in 1974, the 29 year old Helder, knowing the value of freedom, decided to move to the United States to expand his professional opportunities.
Playwright and performer Helder Guimarães in The Hope Theory at Geffen Playhouse. Directed by Frank Marshall. Photo by Jeff Lorch.
At the Geffen Playhouse in Los Angeles, Helder Guimarães, an extraordinary magician recognized by The New York Times as “a master of illusions”, Parlor Magician of the Year, and Ascanio Prize winner shared his story of immigration to the United States in The Hope Theory, an 80-minute one-man show. This performance marks the fourth collaboration between Helder Guimarães and Frank Marshall. Guimarães goes beyond simple storytelling, making the theatrical experience extraordinary by incorporating magic tricks into his show.
Playwright and performer Helder Guimarães in The Hope Theory at Geffen Playhouse. Directed by Frank Marshall. Photo by Jeff Lorch.
The playfulness begins the moment the audience sets foot in the theatre. By pressing a white button and receiving a numbered ticket, attendees are informed that they may be involved in the performance at any moment. However, the magic tricks are not merely incorporated into the story; they are intertwined with Guimarães’ narrative. He philosophizes about the magic tricks he employs by drawing parallels to life experiences. For instance, in one trick, he asks random audience members to choose numbers, creating a connection to the experience of waiting in long lines at the Department of Motor Vehicles—a relatable situation for anyone living in the US. Guimarães shares his personal anecdotes and creates scenarios that resonate with people’s lives in the US. Therefore, for Guimarães, magic is a tool to illuminate personal stories such as career growth, separation from loved ones, betrayal by supposed friends, finding opportunities to thrive, and cultivating hope.
Playwright and performer Helder Guimarães in The Hope Theory at Geffen Playhouse. Directed by Frank Marshall. Photo by Jeff Lorch.
As the play’s title, The Hope Theory, suggests, positive thinking is a central theme. However, the refreshing aspect is that it deviates from the clichéd approach of motivational speeches often associated with entrepreneurs.
As an immigrant in the US and an audience member, I immediately connected with the narrative of the performance. While the immigrant experience varies based on one’s background and destination country, universal themes resonate with most immigrants, such as language barriers, ethical dilemmas, self-identity redefinition, creating a home in a new country, and trust issues.
The Hope Theory playwright and performer, Helder Guimarães. Photo by Justin Bettman.
The Audrey Skirball Keins Theatre, the smaller venue within the Geffen Playhouse where The Hope Theory took place, provided the perfect set for the play. The scenic design done by François-Pierre Couture realistically portrayed a small apartment where Guimarães initially moved in with his girlfriend, Catherina, upon arriving in the US. The details of the apartment, such as the desk, window, armchair, and other detailed objects, were meticulously arranged, with boxes stacked as if recently unpacked. Throughout the performance, Guimarães organizes the boxes and shapes the living room, symbolizing a progression from uncertainty to a sense of belonging. This gradual tidying up of the apartment parallels Guimarães’s journey of finding a sense of home in Los Angeles, where he has resided since moving to the US, and while still holding onto his roots in Portugal.
Playwright and performer Helder Guimarães in The Hope Theory at Geffen Playhouse. Directed by Frank Marshall. Photo by Jeff Lorch.
The Hope Theory is a play that sincerely encourages its audience to enhance their quality of life. By witnessing Guimarães as a wonderful example, they observe how hope and commitment can have magical effects on one’s life.
May 2-June 14 at Geffen Playhouse
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.
This post was written by Azadeh Kangarani.
The views expressed here belong to the author and do not necessarily reflect our views and opinions.
