Review: “HA HA HA HA HA HA HA” at La Jolla Playhouse

Reviewing “ha ha ha ha ha ha ha”  feels a little like reviewing a conversation with a random stranger on the street: what I experienced is not what you will experience. And that's precisely the point. This delightfully odd, surprisingly moving solo show, which is presented by the touring Woolly Mammoth Theatre Company as part of La Jolla Playhouse's WOW programming, is built entirely around the audience in the room. Every performance is bespoke, making it nearly impossible to summarize, but wonderfully easy to watch bloom in front of your eyes.

Written and performed by Julia Masli, the show begins with the simple question: "Problem?" Dressed in a sculptural blue gown, sporting an elaborate headdress crafted from recycled audio equipment, and wearing a hollow mannequin leg in place of one arm, Masli wanders the audience like an eccentric therapist from another planet. What follows is an hour of improvised problem-solving in which volunteers confess worries large and small, and Masli responds with solutions that are absurd, inventive, and unexpectedly heartfelt.

Some concerns are trifling and easily addressed. One audience member regretted wearing unattractive shoes, prompting an impromptu footwear swap. Two patrons admitted they desperately needed the restroom and were personally escorted out with ceremonial importance. Another volunteer searching for work was immediately hired as the evening's official problem recorder.  Some people worried about bigger issues that, while harder to solve, were approached with the same care, solemnity, and silliness in equal measures, like when to take the next major life step, or about the world at war. Each solution arrives with the logic of a dream, and that's where the comedy thrives.

Beneath the wonderfully ridiculous exterior lies something unexpectedly profound. As strangers reveal anxieties about careers, relationships, family, retirement, and the state of the world, the performance is also a gentle reminder that nearly everyone is carrying something heavier than they let on. Masli never mocks these confessions, but instead reacts with curiosity and compassion, turning them into a communal celebration.

The audience participation, which might sound intimidating, proves remarkably gentle.  Masli has an uncanny ability to sense where comfort ends and discomfort begins, steering interactions away from embarrassment before they can sour. Instead of becoming the butt of a joke, participants become collaborators in an evening built on empathy, laughter, and shared humanity. The result is less a comedy show than a joyful act of collective care disguised as improv. No worries if you don’t want to participate; if you avert your gaze, she quickly course-corrects to someone else. 

Director Kim Noble provides just enough structure to let spontaneity flourish. Live sound designer Sebastián Hernández and lighting designer Sarah Chapin deserve enormous credit as their work subtly shifts the atmosphere from whimsical to eerie to euphoric, culminating in a final sequence that's both technically impressive and emotionally satisfying considering it can never be predetermined.

No two audiences will experience the same “ha ha ha ha ha ha ha”. Some evenings may be funnier than others, some more emotional, and some a little longer than they need to be. But every performance offers something increasingly rare: the chance for a room full of strangers to laugh together, care for one another, and leave feeling just a little lighter than when they arrived. It's weird, and that’s wonderful.

How To Get Tickets

“ha ha ha ha ha ha ha” is playing at the La Jolla Playhouse through August 9th.  For ticket and showtime information, go to lajollaplayhouse.org

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