Maquinitas - AAsquared

In past few years, a renaissance of more existential theatre has returned to the stage trying to deal with the absurdity of the modern world in light of a deadly pandemic, political unrest, and the absurdity of late-stage capitalism. A recent example was KC REP’s world premiere of “Flood”, which dealt with the denial of older generations with the struggles of the younger as the world drowned. KC Fringe’s premiere of “Maquinitas”, written and performed by Freddy Acevedo and Jerry Manon, takes on turning passion into product, the commercialization of dreams, in the format of “Waiting for Godot” collides with Working for Bezos, with a mixture of hilarious and tragic results.

In a not-too-distant dystopian future, Coqui (Acevedo) and Woozy (Manan) are workers/prisoners for the Grand Machine (all hail) constantly made to entertain the audience as we become culpable in the very means of their survival with our comments, cheers, and boos. Coqui plays more of the sympathetic straight man, as well as the coward pushing his exhausted but loveably clumsy companion Woozy for their continued existence. Dressed in neon bright safety vests and work suspenders, they are a combination of clown and factory workers. They are the workforce Judy to capitalism’s Punch or SNL’s Mr. Bill taking on Mr. Hand to be slightly more modern.

Going between English, Spanish, and heightened language, they perform songs, dances, soap operas, always pushing the next commercial product from the makeup they wear to “Copeaway”, a drug that briefly allows them to escape from the anxieties of non-stop working. Whenever they try to address more meaningful issues or reach out to the audience for help (in a great Sarah McLachlan parody), they are punished by EL Jefe, the sock puppet boss that occasionally possesses the right hand of Woozy at the most inopportune moments. The beady black buttoned eyes of this menacing boss shine with more life than many a billionaire, and it is an equally funny and terrifying sight to behold.

Like Martin McDonagh’s “Pillowman”, there is always black humor mixed with the threatening air of an authoritarian prison state as the pair must sell their minds, souls, and bodies to keep their livelihood and lives going. Often referred to as “hustle culture”, Manan and Acevedo are a part of the Millennial generation and very aware of how any hobby, interest, even leisurely pursuits have to be weighed with the option of turning those same joys into something that can also turn a profit. The phrase, “doing what you love means you’ll never work a day in your life” takes on a more sinister edge when your passions are no longer voluntary, but a requirement.

Acevedo and Manan are a revelation as they embody multiple characters and relevant experiences dealing with Latino stereotypes in auditions, the need to sexualize themselves to push products, and the pride and shame of begging for your bread when your talents aren’t valued. Will Coqui and Woozy achieve their dream of ritualization, basically this world’s version of becoming syndicated on TV? It is imperative for people to come see this post-existential show and not look away.