A COLORFUL, KINETIC AND PUPPET-FILLED POW
Emilio’s A Million Chameleons at Soho Playhouse offers family-friendly, fabulously frenzied fun. Like many offerings aimed at, or at least semi-targeted, to kids, it’s brief—just under an hour—but packed with energy. And that’s an understatement. But the frantic, almost unrelenting, race and pace is justified, not only catering to the limited attention spans of young children but also fitting for the presented situation.
Co-creator with Byron Laviolette, the writer and peppy star Adam Francis Proulx—the only actual human being in the show—plays Emilio, a masterful top-hat wearing ringmaster type touting what he boasts is a top-drawer attraction of entertainment, determined (some might say desperate) to draw attention and draw a crowd. He’s apparently feeling the pressure to be worthy of the show his father, Emilio Senior, created and hosted. He bounces, swirls, and struts across the stage, belting out the boisterous title song, repeating the catchy main chorus again and again (music by Chris Tsujiuchi). Although you might wish he’d switch to decaf coffee, his non-stop hyperbolic zest is with the best of intentions. The promised chameleon creatures are of the puppet species and have a fair amount of zing and glitz, too. While the accompaniment, instrumental pizzazz, some singing for Juan the puppet, and sound effects are pre-recorded, the timing works just fine.
The audience is playfully teased in this colorful, clever production about the countless chameleons supposedly waiting backstage. First, flat cut-outs appear, followed by their three-dimensional counterparts. True to their nature, these chameleons don’t just change colors—they sing, dance, and spin plates. But what about Emilio? Is he a huckster, a ham, a hero, or or hooked on happy pills? Mr. Proulx is a pip, determined to delight—or collapse trying.
Audience participation adds to the party atmosphere. Giant inflatable dice are tossed among comfortably seated spectators, who also join in by calling out words in unison now and then. At one point, a volunteer eagerly takes the stage, reacting, mimicking movements, and handling a puppet—then receiving one to keep. At the performance I attended, the fellow was a perfect pick: a young boy whose rapt attention, glee, and giggles never wavered. His joy was just as fun to watch as the show itself.
Puns pepper the proceedings in this New York premiere, with deft improvisations sparked by audience reactions, a wayward prop, or the mood of the moment. Some quips are more appreciated by the adults, keeping them engaged while sailing over kids’ heads without leaving them puzzled or excluded. (Listen for the quick Wicked reference.) The latter part has some calmer, sweet moments and a worthy message about being yourself—before the much-hyped “Grand Finale!!” and a happy ending. And I was happy to be there.
photos courtesy of the production
Emilio’s A Million Chameleons
SoHo Playhouse, 15 Vandam Street near Sixth Avenue
part of SoHo Playhouse’s 2025 International Fringe Encore Theater Series
Sat & Sun at 11am & 2pm; ends on March 2, 2025
for tickets to the Fringe Encores ($20-$39), visit Soho Playhouse
for more info, visit Chameleon Show
