This intimate journey unfolds through a sort of reversal of scale, drawing attention to the richness of the small. Rather than describing the epic voyages of the great navigators—the monumental feats that shaped Portuguese and Brazilian history—it instead reveals how even the simplest objects contain and tell other stories: more personal, more intimate ones.

Rita Xavier Monteiro > Mais Crítica Magazine > Lisbon PT

The seven actors set out from a pier and, after a few days, are shipwrecked. Using the physical and emotional wreckage, they create the performance. In it, there is a “drifting” of the sailboat’s route and of the creative process itself. The shipwreck of one utopia may be the beginning of another. Like many of the creations by these two companies, there is a fragmented narrative thread, a story created by the audience itself, piecing together the pieces of a puzzle. And there are scenes presented as if viewed from different perspectives, yet all linked to the shipwreck of a sailboat called Mundo Maravilha. The shipwreck of a certain utopia?

Ana Dias Cordeiro > Jornal Público > Lisbon PT

That is the singularity of the play’s meanings—precisely, to proliferate in the abundance of failure, of decline, of the transitory, and of the imperfect. Hence the melancholy, ever in the making; hence the insistence on shifting focus and pausing for a moment on certain things that seem out of place; and, even more so, the insistence on creating a tension between belief and failure, pointing out wonders in the commonplace acts of walking, speaking, and smiling—all as gestures of a cynical spectacle, yet full of humor. Yes, it is an intelligent play and, for that very reason, moving.

Dinah Cesare > Questão de Crítica > Rio de Janeiro RJ

The freshness is revealed in the language, which moves through registers of various theatrical genres without adhering to any one, and in the experiments in stage design.

Maria Fernanda Vomero > Época Magazine > São Paulo BR