Chicago Tribune - Somewhat Recommended
"...They are the children of Filipino immigrants who moved to Chicago a couple of decades back. Mom (who gives the play its title) has just died, sending everyone into an emotional tailspin of guilt and cross-cultural wrangling that unfolds over a succession of mostly short scenes. That kind of pacing tends to work just fine on TV, where sketchily drawn characters are deepened over time. Bernardo doesn't have that luxury here, and the herky-jerky rhythm of the piece tends to work against it. Kate Garassin, though, is first-rate as the constantly exasperated oldest sister. Directed by Erica Weiss (for Bailiwick), the production leverages the full comedic potential of the stealthily deployed livid sideways glance."
Windy City Times - Highly Recommended
"...Playwright Bernardo's close connection to his material makes for a more complex journey to reconciliation than typically encountered in plays of this genre. Director Erica Weiss forges smooth transitions to integrate dialogue ranging in tone from Norman Lear (exacerbated by Stephen H. Carmody's pop-up book scenic design) to Arthur Miller. Finally, Joseph Anthony Foronda conjures sympathy for the arguably undeserving Roberto Sr. to anchor an actors' ensemble delivering articulate portrayals devoid of stereotype, rendering this a fable of redemption stretching beyond its superficial ethnic boundaries."
Centerstage - Recommended
"...While his dialogue is sometimes trite and his construction a bit choppy, Bernardo’s story is comfortably familiar. Director Erica Weiss has focused on this universality, keeping things moving, thanks to Stephen H. Carmody’s creatively flexible set and Christopher Kriz’s driving sound design. She’s fashioned this new play into a compelling story of survival and Mahal, the Filipino word for love."
Time Out Chicago - Highly Recommended
"...The questions that strike at the heart of the play (How can love be expressed? How do we define it?) are explored through the lens of a Filipino-American family, but feel universal during a time in which the nature of relationships in our society is being widely challenged. Many members of the audience will relate to the use of cell phones in the play which, as in life, provide both distraction and competition for focus for the characters onstage. But Mahal isn't so much about the technology itself but how our need for connection gets channeled through it. It occasionally veers too far into the sentimental, but the play's characters, brought to life by Bailiwick's solid ensemble, come together to form a believably complicated and likable portrait of a contemporary family."
ShowBizChicago - Highly Recommended
"...Mahal is also helped along by Stephen H. Carmody’s highly functional and pleasing set design which allows the many scene transitions to occur a seamlessly. There is still some streamlining that needs to be done with the script, especially in the second act, but as a first outing, this is certainly on of the best new works about culture and family to come along in recent memory. In the end, Mahal ends up not so much a story about cultural differences but rather the universal sameness of the love and acceptance we are each yearning for in our own journey with family. For that is what Mr. Bernardo has make palpable in this entrancing new work."
Chicago Theatre Addict - Recommended
"...In more than a few ways, Bernardo's script reminds me a lot of Immediate Family - another fine ensemble play with roots in Chicago that centers around a family who comes together following a tragedy and must deal with acceptance and moving forward. There's the uptight eldest daughter who's sacrificed her life to keep the family together, the golden (and therefore, resented) son who happens to be gay, and the outsider boyfriend who gives them all perspective. However, while both plays have striking similarities, both have valid, distinct and compelling stories that tug at the heart."
Let's Play at ChicagoNow - Recommended
"...The impressive set designed by Stephen H. Carmody is a wooden box. Depending on the scene locale, a wall is moved to expose a bar, a bookshelf, a couch, a window. The utilitarian remains simplistic and specific at the same time. There was a slight set malfunction going from Mikey's to dad's place when a window didn't disappear. I only mention it as a justification to cut down on the number of scenes. Action goes here and there on the revolving set. Although the pace is quick, cutting back on the number of scene transitions would effectively streamline the story. In addition, Bernardo's dialogue is mostly natural. Yet, there are conversational exchanges that are borderline corny. Sure, the sentimentality is there. But because we now know the family so intimately, we don't quite buy that they would say that."
Chicago Theatre Review - Highly Recommended
"...Overall, Danny Bernardo's first play succeeds as a heartfelt tribute to his culture, and as a well crafted work of family drama. As directed by the sure-footed Erica Weiss, Mahal draws us into a family whose traits are easily recognizable, even if their culture is one we seldom get to see on stage. The Filipino cultural elements put a lot of pepper in the sauce, but the meat here is the love that binds this family to each other. Why is love so costly? As Kim says to Mikey near the end of Act Two... Because with it, we build the world."
