The BATS Stage is hazy, a warm peach light over an interior lounge set. An armchair, a couch, some side tables, a rug. A screen with a doorway defines the interior. Two white plastic outdoor chairs sit on the audience side of the screen. The soundscape is birds, crickets, and frogs.

Abuelito | Grandfather (Monēt Wiljo Sam Faifai-Collins) appears. With guitar accompanying him he sings to us in Spanish while images are cast onto the screen from an overhead projector. Faifai-Collins’ voice soars as the images start to pile upon one another.

Bella (Steffany Silva De Lautour) stumbles into the house in the dark. Her sister Alma (Marilyn Mansilla) greets her – it can hardly be said to be a welcome. Alma asks questions in Spanish, Bella replies in English. A third sister Camilla (Elia Correa) gives a warmer welcome but there is some tension there.

The stage is set for reunion with attendant sibling rivalries, conflicts and love. While the events may circle around Abuelito, the sisters are where the story is focused.  

The four actors on stage are a tight ensemble and each brings good individuality to their characters. De Latour is appropriately awkward as Bella, newly returned to Puerto Rico from New York. She conveys that she doesn’t quite fit anymore through fidgeting and a certain looseness in her arms. Mansilla as Alma, is a bundle of tension, showing the character’s strain through tightness in her shoulders and core. Her speaking is clipped and fast – even her plait seems mad at times. Correa shows up as more relaxed, her character a peacemaker between her two sisters.

It’s unclear who is responsible for choreography in the more physical scenes between the three sisters – they are fun to watch and well done.

I enjoy Faifai-Collins performance the most when he is the younger grandfather. He’s affable and playful, then slumps to show the weariness of a grandparent raising young children.

The fifth performer is Sean Brennan who is responsible for the shadow play and puppetry on stage. The Taino story of how the colibrí | hummingbird came into being is told through shadow play – paper cut-outs on an overhead projector which brings an extra layer of interest. He also ventures down onto the stage with a puppet coquí | small frog endemic to Puerto Rico. This coquí is a particular friend to Bella, joining in her playfulness and warning her away from mischief. 

Writer+Director+Performer Elia Correa’s ambition is to explore connection to language, culture, and family. It’s a smart script that unfolds the story in non-linear time. Alma’s reveal as to why Bella was in New York, why she has returned, and why Alma and Camilla are so resentful of her presence is genuinely affecting. This story feels more expansive than the short run time. 

A very good start to my 2026 Fringe Festival.

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