By AJ Jaffari
What if every choice we made splintered off into a new version of our lives? What if every “yes” and “no” echoed into a hundred alternate outcomes? That’s the beating heart of Constellations, now playing at the Pear Theatre—a deceptively simple, deeply affecting two-hander that explores love, loss, and the infinite in-between.
The play begins with a meet-cute between Marianne, a theoretical physicist, and Roland, a beekeeper. From there, it unspools in nonlinear fragments, skipping between parallel universes like a record catching on time itself. Scenes replay with subtle shifts in tone or language—sometimes tender, sometimes devastating—and we start to realize we’re watching every possible version of this relationship play out.
It’s heavy stuff, but the production keeps its feet on the ground. The show’s direction is crisp and uncluttered, trusting the audience to follow the emotional through-line even as the narrative loops and restarts. The actors move with such fluidity between timelines—awkward first dates, warm reunions, gut-punch goodbyes—that it’s easy to forget how much precision this kind of storytelling demands.
The beauty of Constellations lies in its contrasts: abstract ideas rooted in visceral feeling, cosmic scope wrapped in intimate moments. One minute you’re thinking about string theory, the next you’re bracing for a silence that speaks louder than words. It’s a play about the multiverse, sure—but it’s also about the multitudes in every relationship. Every hesitation, every leap of faith, every impossible goodbye.
In the end, Constellations doesn’t offer answers. It offers possibilities. And in a world where so much feels uncertain, that feels strangely comforting.
And now… onto the review!
Cast: ⭐️⭐️⭐️⭐️⭐️
The cast is stellar—truly. With just six performers (three Mariannes and three Rolands), each actor brings something distinct yet thematically cohesive to the table, which seems to be exactly what director Reed Flores set out to achieve in assembling this ensemble. I felt everything from every performer, but of course, a few left especially strong impressions.
Among the Mariannes, it’s nearly impossible to choose a favorite. Elana Swartz delivered one of the rawest portrayals of grief and vulnerability I’ve seen onstage. Every yell, scream, and tear felt utterly lived-in—like I was right there with her, caught in the emotional wreckage. Raven Douglas and Vivienne Truong, both of whom I’ve seen before, delivered what might be their finest performances yet—infusing the role with humor, warmth, and undeniable charm.
The three Rolands were each compelling in their own right, offering subtle contrasts in energy and tone. Still, this production, for me, felt especially centered on Marianne’s emotional unraveling—her journey (or perhaps collapse?) was the gravitational pull of the show.
Theater: ⭐️⭐️⭐️⭐️⭐️
The Pear Theatre is easily one of the most unique venues in the South Bay. Every time I return, the configuration has changed—and this latest setup might be my favorite yet. Tucked away in what feels like a random pocket of town, it’s a space unlike any other, and I’m consistently impressed by how much they’re able to accomplish within such an intimate setting.
The lobby is cozy, with a surprisingly wide selection of snacks and drinks, and—bonus—there’s free parking, so no need to stress. It’s a theater I genuinely enjoy visiting, and I’ll definitely be back.
Production: ⭐️⭐️⭐️⭐️⭐️
I love walking into a show blind—not knowing the story, the structure, or what to expect—and I thoroughly enjoyed the experience this production delivered. Director Reed Flores has crafted something truly beautiful here. I can only imagine the time and care that went into bringing this piece to life; it’s easily one of the most vulnerable and emotionally exposed works I’ve ever seen onstage.
The set design by Louis Stone-Collonge was simple but striking. I loved the paint splatters on the floor and the overall darkness of the stage—it leaned into a minimalist aesthetic that served the story well. The lighting, designed by Carsten Koester (whose work I’ve admired at City Lights in San Jose), added a poetic touch. The hanging Edison bulbs above the actors were a particularly gorgeous detail.
All in all, this is a standout production for the Pear Theatre, and I can’t wait to see what they do next.
Constellations runs through July 20
Tickets are available here.
Broadway with AJ and Sarah 
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