There is something truly remarkable when you witness a play that not only makes marine biologist wholly relatable but that you feel so much compassion for a giant octopus puppet and inspire mythical wonder in the deep watery unknown. Such is the accomplishment of Weston Gaylord’s Octopus’s Garden, now having its world premiere in this gorgeous co-production with Boston Court Pasadena, Circle X Theatre Co., and Outside In Theatre.

Octopus’s Garden follows two marine biologists and a struggling composer whose lives are upended when an octopus in their cephalopod lab composes a piece of music of unparalleled beauty. As ambitions collide and creative egos fray, the characters are drawn into a richly theatrical fable that questions what it means to confront the unknown. Innovative puppetry brings the titular octopus to life, heightening the play’s blend of humor and heart.

I have mentioned this many, many times before in the past but in our recent times where there is a noticeable scaling back of diversity or at best, diversity once again pigeon-holed in “minority play of the year” plays, it is most encouraging when plays not only utilizes global majority actors in significant leading parts but done in such a way that their ethnicity is not the narrow-minded focus but not ignored either. Octopus’s Garden accomplishes just that and by having the world premiere launch with such a goal, it encourages any other theatre companies who put this production up to follow suit. While the character of Tara (Kacie Rogers) is most definitely written for a global majority female-presenting actor in mind, the other two characters of Lars (Tim Cummings) and Lucas (Vincent R. Williams) are most definitely flexible in terms of gender and ethnicity that I would love to see explored further.

Despite a surreal larger than life plot, this is an intimate play that requires six actors, three of them being puppeteers for the octopus that imbue just as much soul and personality as the “human characters.” And with this production, you have a knockout ensemble cast composed of Tim Cummings, Kacie Rogers, Vincent R. Williams, Zachary Bones, Perry Daniel, and Danielle McPhaul. Directed beautifully by Jessica Kubzansky, the three human characters and octopus are fantastically filled with such incredible moments that are made possible not only by the performances but by the writing that is so rich with so many indelible scenes and monologues that I can see many acting classes utilize from in the future. Each of the human characters are written with such complexity that their flaws are completely understandable.

But this production is not only successful in the acting front but in the design aspect that plays an integral role in creating this incredible world with puppet designer/director Emory Royston, set designer Francois Pierre-Couture, lighting designer Karyn Lawrence, and sound designer & composer Noel Nichols & UptownWorks weaving together a world that succeeds in conjuring the surreal and mysterious beauty of the vast, unknown ocean. As someone who has been endlessly fascinated by the deep watery unknown, this play and its design elements fulfilled that inexplicable wonder. Further kudos must go to the dramaturgical work by Jen Kays and casting by Victoria Hoffman for playing integral roles in making this production such a success.

Speaking of such a successful production, I don’t really have any significant critiques for this one as I found all elements to be completely in place and the pacing to be sound. There is at one point right before the intermission that the play could veer even further into the horror/sci-fi aspect so perhaps a part of me was left wanting more because I am such a genre junkie. But despite the premise of an octopus composing such a random and divine piece of work, I am glad they chose to focus on the humanity in a grounded manner that drives home the point of questioning science’s role in ethics vs. progress and the willpower to pursue the truth even when the truth absolutely shatters you. I particularly relate to the latter as current events have been a reckoning of breaking long held “truths” and comfortable status quo to pursue something even better.

This is also the second co-production of Outside In Theatre that have conjured up the mystical and the magical while utilizing global majority actors in significant ways, with the most recent one being Room By The Sea that is still performing at their space. I will always continue to advocate for works that continue to bring in the world and the people that represent it without needing to hyper-focus on the ethnicity to make a point or at worst, virtue signal it. This wonderful theatre company and their artistic director Jessica Hanna have been putting out such work that I wish for other theatre companies in Los Angeles to take note and incorporate for themselves as well. As of now, I have become an even bigger fan with this production and will eagerly look forward to all their future endeavors. Octopus’s Garden is running till March 29 at Boston Court Pasadena, located at 70 N Mentor Ave., Pasadena, CA 91106. And gasp, there is free parking available directly behind the building. You can buy tickets here.

Performance Schedule — Octopus’s Garden
● Thu, Feb 26, 2026 – 7:30 PM (Preview Performance)
● Fri, Feb 27, 2026 – 7:30 PM (Preview Performance)
● Sat, Feb 28, 2026 – 7:30 PM (Preview Performance)
● Sun, Mar 1, 2026 – 2:00 PM (Preview Performance)
● Thu, Mar 5, 2026 – 7:30 PM (Preview Performance)
● Fri, Mar 6, 2026 – 7:30 PM (Preview Performance)
● Sat, Mar 7, 2026 – 7:30PM (OPENING NIGHT)
● Sun, Mar 8, 2026 – 2:00 PM
● Sat, Mar 14, 2026 – 2:00 PM
● Sat, Mar 14, 2026 – 7:30 PM
● Sun, Mar 15, 2026 – 2:00 PM
● Fri, Mar 20, 2026 – 7:30 PM
● Sat, Mar 21, 2026 – 7:30 PM
● Sun, Mar 22, 2026 – 2:00 PM
● Mon, Mar 23, 2026 – 7:30 PM
● Fri, Mar 27, 2026 – 7:30 PM
● Sat, Mar 28, 2026 – 2:00 PM
● Sat, Mar 28, 2026 – 7:30 PM
● Sun, Mar 29, 2026 – 2:00 PM