Benjamin Benne’s Poetic Tale Thrills with Action, Falcon, Violin

by Kheven Lee LaGrone

Benjamin Benne’s “Manning” speculates on the old question: What happens to us at death?

When we die, do we meet God at the Pearly Gates?  Does She look at the Big Book of our lives to assign us to Heaven or Hell? Every culture has created stories to answer that question.

Benne’s “Manning” lyrically paints a story from a Latin culture where men ritually return ashes to the earth, which nourishes a surprising vegetable. When Ana (Michele Apriña Leavy) dies, she leaves behind her husband and two sons, who spread her remains in the small stage garden. As Ana, Apriña subtly directs their stages of grief.

Overnight, an imposing zucchini, designed by Maria Zurita Ontiveros, sprouts, Ana’s ashes invigorate the zucchini, making it special. Father and sons react differently to the giant vegetable and the death it symbolizes. They draw close to the green wonder during their stages of grieving.

The play flows smoothly, though it begins slowly and wanders meditatively. Then, piece by piece, the themes of life after death and spiritual awakening come together beautifully.

Director Adin Walker opens boldly with the zucchini’s “growing up” overnight. The numinous Latin tale inspires Walker’s imaginative directing. Walker marvelously blends magnificent moments that feature a beautiful puppet falcon, designed and animated by Ixtlán.  Under Ixtlán’s hands, the falcon achieves lyrical grandeur onstage.

In addition, Sarah Jiang dances and plays violin, complementing falcon puppeteer Ixtlán. Her composition and music move us effortlessly between fantasy and realism.

The dynamic between the two sons, Sebastian (Caleb Andew Cabrera) and Freddie (Alonso Melgoza) centers the play. The brothers have opposite reactions to death. Freddie, a vegetarian, hates even talking about killing. The idea of killing animals for food repulses tall, sensitive Freddie. Melgoza does a touching and intimate portrait of Freddie that stirs us.

But the falconer brother, Sebastian, is thrilled by death and killing. As Sebastian, Cabrera persuasively trains the falcon to kill prey on command. Cabrera’s firm yet delicate touch activates his connection to Freddie. Both Cabrera and Melgoza deliver their roles with great dynamism and intensity, a modern  Cain and Abel.

Playwright Benne imagines a transitional space where the dead and living communicate. Director Walker creates the space in powerful dream-like sequences featuring falcon, dance, and violinist.

We feel the deep love between the grieving father Julio (terrific Michael Anthony Torres) and his deceased wife. Torres’ passionate husband in deep grief brings “Manning” to emotional climax.

Puppeteer Ixtlán flies the falcon impressively. Moving between fantasy and realism, the falcon becomes my favorite element. The puppet is beautiful, hovering gracefully across the sky with powerful visual impact.

Ironically, the purpose of the falcon is to hunt and kill. In fact, the title of the play, “Manning,” comes from the ancient art of falconry. Manning is training the falcon to finally accept humans.

Benne and Walker and Crowded Fire Theater’s crew all contribute to a beautiful flight of fantasy and spirituality—a unique and sensual and lovely show at Potrero Stage.

“Manning” by Benjamin Benne, directed by Adin Walker, scenic design by Carlos-Antonio Aceves, costumes by Meg Neville, lighting by Tristan Fabiunke, music by Sarah Jiang, and sound by Alexandre Fakayode,  at Crowded Fire Theater, Potrero Stage, San Francisco.

Info:  crowdedfire.org – to September 26, 2026.

Cast: Caleb Andrew Cabrera, Michele Apriña Leavy, Alonso Malgoza, and Michael Anthony Torres, with Ixtlán and Sarah Jiang.

Banner photo: Puppeteer Ixtlán & Hawk Jasmine fight Caleb Andrew Cabrera (Sebastian). Giant zucchini & Alonso Melgoza (Freddy) look on. Photos by Cheshire Isaacs