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[title]Starting Monday, February 2, Every Brilliant Thing begins a new season at the Multiteatro with Sofi Morandi as a guest narrator (tickets here). An intimate, sensitive, and deeply human experience, the play has been running for more than three years and has become a phenomenon that keeps drawing new audiences and perspectives.
Directed by Mey Scápola, this one-person show proposes something as simple as it is powerful: creating, together with the audience, a list of all those small things that make life worth living. Every performance is different, because every spectator is different. And that’s the heart of the play.
In this new chapter, Morandi brings an energy infused with tenderness, vulnerability, and a warm presence that demands being—as she herself says—“100% here and now.” In conversation with Time Out, she talks about the challenge of taking on this role, the direct connection with the audience, and the strong professional moment she’s experiencing.
You’re joining a play that’s already featured many very different narrators. What do you feel you bring to Every Brilliant Thing?
It’s hard to say what I feel I bring, because it’s like I’d be talking about myself. But I think I bring a tender side. Among the narrators, I’m one of the youngest, and that creates something different, right? Something more connected to tenderness and vulnerability.
I also feel I have something spontaneous—warm, I’d say.
What was the first thing you felt in your body when you were offered the role?
Responsibility, because it’s a beautiful play that actors and actresses I admire a lot have done. And also challenge, because it’s something I’m doing for the first time, and I felt that the process would be something I was ready for at this moment in my life. Maybe not before. It came to me at a time when I really wanted it, and the process proved me right: it was really beautiful and a huge opportunity for growth.
It’s a very intimate play, where the bond with the audience is key and every performance is different. What surprises you most about people’s reactions?
From the times I went to see it, even though it’s been running for many years, there are lots of people (most of them) who don’t know what they’re about to encounter. I like that sense of surprise, that “oh, okay, this is the code,” which starts as soon as the actor welcomes you into the theater. You start to realize it there. That first surprise breaks the mystery of “Hey, what is this thing I’m going to see about?” I love that.
"I like it because, in some way, it touches all of us at some point"
I also like it because, from a certain point of view, it touches all of us at some moment in our lives. It has something nostalgic and melancholic about it, and the audience is part of it too. People might get emotional with one of the characters, and each person connects with a different one—the therapist, the doctor… I don’t want to spoil too much. But it reaches everyone in its own way, and I really like that.
What does theater—and this almost-solo format in particular—give you that you don’t find in other formats?
It gives me the need to be 100% present. That’s something that’s really hard for us these days—I’m speaking for myself—I dissociate every two seconds. But in this play, you have no choice but to be there, especially because of the interaction with the audience and because every performance is different. You don’t know what the other person is going to propose, energetically or even if they’ll say something that wasn’t in the lines you rehearsed. You have to be present, open to receiving whatever comes. And I think that’s beautiful: it’s one hour of being 100% here and now, as they’d say in theater.
You might also be interested in: Summer theater in Buenos Aires
Beyond the play, you’re in a great professional moment. What projects are you working on now, or what would you like to explore this year?
Right now I’m doing Every Brilliant Thing, my first solo show. I recorded the third season of Porno y helado last year, and it premieres this year, after the World Cup. It’s a project I love deeply and never imagined would reach a third season. It was really well received by audiences, and it’s also the last one—so I invite everyone to watch it.
"I feel like 2026 is going to be a very theatrical year"
I think 2026 is going to be a very theatrical year. I might return to doing a musical this year; I can’t say much yet, but it’s a very fun project that I love. That’s where I feel most in my element. And then I’d like to keep growing in film as well.
PING PONG
A spot on Avenida Corrientes to go to after the show:
Puni or Güerrin.
A habit that gets you through tough days:
Talking to friends, sending them endless voice notes.
Something “brilliant” that doesn’t usually make the lists:
Going to therapy.
A dream project you haven’t done yet:
A film or series abroad.