"The show, which honors the many women in Hudes’s maternal line, is a tender collision of scene and image, an impressionistic collage rather than a straightforward biography."
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"Every language on its own is broken, insufficient. But together, in My Broken Language, they make a complete, sublime whole that celebrates a family's life and legacy."
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"4/5 Stars! The show feels more like a party than a play: a family photo album come to vivid, joyous life...Hudes retains the lyrical style of her memoir and infuses it here with dance and live music...Five performers embody her and her kin at different ages, switching comfortably among characters and tongues as the author finds her own voice."
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"The language — which, as the title suggests, is the centerpiece of this theatrical event — ends up being the production's greatest Achilles' heel."
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And, for all the flash and color of Hudes' writing -- a Frank Stella painting described as "a geometric splat," a cousin with a "C-section scar thick as a thumb, bisecting her abdomen from pubes up to navel," the stitches "giving the appearance of caterpillar feet" -- none of the women recalled so vividly ever acquires anything like a character. They remain forever at a remove, appealing subjects for the author's camera eye. And because each member of the company steps in at different times to deliver Hudes' narration, My Broken Language ultimately takes on a curiously disembodied feel.
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"Hudes’ accomplishment is an awe-inspiring monologue for the ages – as is Guevara’s explosive performance of it...Hudes is establishing herself as one of the foremost playwrights increasingly breaking barriers – and diverse barrios."
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Hudes has directed her own play in a delightful vaudeville/musical comedy style with dancing between the scenes to choreography by Ebony Williams to live music played by pianist Ariacne Trujillo-Durand, supervised by Alex Lacamoire. Of the five actresses who perform each in their own inimitable style, three of them have appeared in Hudes’ plays before: Daphne Rubin-Vega and Zabryna Guevara (who play the Author twice each) have appeared in two New York productions and Marilyn Torres has appeared regionally in the Pulitzer Prize-winning, "Water by the Spoonful" at the Old Globe, San Diego. By the end of the evening we feel we have met all of the Perez women as well as know what makes the Author tick.
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The effort, delivered with over-the-top histrionic emphasis, sounding not much different from a hipster poetry slam, allows for considerable choreographic invention, devised by Ebony Williams. Several moments...are striking demonstrations of physical commitment. They fail, though, to supply more than momentary visual distraction to material that could almost as well be read from a podium as performed on a stage.
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