Mar del Plata audiences will once again experience the uniquely cathartic performance of “The Funeral of Objects,” a musical that’s been captivating theatergoers for over six seasons. The show, created and performed by Fernanda Provenzano and Nicholas Manasseri, offers an unconventional theatrical experience—a sort of alternative therapy where characters, and potentially the audience, confront and bid farewell to objects imbued with deep emotional significance.
A Playful Approach to Grief
Table of Contents
What makes “The Funeral of Objects” different from traditional theater?
Far from a somber occasion, the production transforms the concept of a funeral into a “fun and collective ritual,” according to Provenzano, who explained that “the funeral became a very fun ritual to do on stage.” This playful energy extends to the audience, inviting them to both laugh and reflect simultaneously.
The premise centers around characters attending a therapy session— aptly named The Funeral of Objects—aiming to release attachments to possessions they can’t quite let go of. Manasseri notes the work is rooted in a common observation: our lives are deeply intertwined with objects, and severing those ties can be surprisingly difficult.
Unconventional Musicality
While categorized as musical theater, “The Funeral of Objects” doesn’t adhere to a conventional format. Manasseri clarified that the performance isn’t entirely sung-through, but rather features songs strategically woven into the narrative to accompany the characters through the various “stages of the duel.” Each musical number boasts an exaggerated theatricality, designed to elicit both humor and relatable identification.
Provenzano added that this heightened style resonates with real-life experiences, from cherished, almost talismanic objects to the accumulation of memories within familiar spaces like dressing rooms and homes—underscoring how our connections to things reveal aspects of our own lives.
A Mirror to the Audience
A key element of “The Funeral of Objects” is its ability to foster a strong connection with the audience. Prolonged applause, as noted by Man Flynn, is a testament to the cast’s energy and the play’s resonance, with many attendees recommending it to others and even planning return visits with companions to share the experience.
Provenzano describes the work as having a “mirror function,” observing that the show’s longevity confirms the bond it creates with viewers. For her, attending the theater remains an act of trust and even rebellion—a deliberate choice to get dressed, venture out, and allow oneself to be surprised by the unexpected.
From Concept to Stage
The play originated from an earlier exploration of the relationship between people and their belongings, but truly took shape when the title itself emerged. Manasseri explained that the idea of “veiling an object as if it were a person” encapsulated the core meaning of the production.
In addition to performances in Mar del Plata, “The Funeral of Objects” is also being presented in Buenos Aires on Thursdays at 10:00 p.m. at Plaza Walk. Tickets are available through Plateanet, and discounts can be found on social media @elfuneraldosobjetos.
Like an “emotional scoreboard,” The Funeral of Objects invites us to examine what we accumulate, what burdens us, and what we’re prepared to release. Through laughter, music, and shared memories, the theater becomes a space where letting go can be a celebration.
