During the chance of sounding that is flip wouldn’t do justice to a winningly bonkers comedy that got its female-empowerment themes seriously — “Bad Hombres/Good Wives” may just motivate both a hashtag and a theatrical genre: #MeTuba.
The blurts of a sousaphone serve as both musical accompaniment and sly comic commentary on the deliriously antic action in the San Diego Rep world premiere of Herbert Sigьenza’s Moliиre-goes-modern mashup.
Therefore the guy whom plays it as he hotrussianwomen.net/asian-brides/ roves round the stage — the skilled tubaist Adrian Kuicho Rodriguez — becomes something similar to a wordlessly wry Greek chorus (in the event that ancient Greeks had gotten around to developing marching bands).
It’s the sort of anything-goes gambit that frequently animates performs by Sigьenza, the Rep resident playwright (and co-founder of this pioneering Chicano troupe tradition Clash) whom really loves placing classics by way of a pop-culture Mixmaster.
However with “Bad Hombres” — built around Moliиre’s “School for Wives,” about a chauvinistic goat that is old to groom the most wonderful, subservient spouse — the playwright has brought their singularly eccentric sensibilities to fresh creative levels.
So when directed with a yen for the kinetic by Rep chief that is artistic Woodhouse, the play has its own ladies not merely switching the tables but flipping them in addition to some hapless men’s minds, amid the ultra-macho milieu of Mexican medication cartels during the early 1990s.
Sigьenza’s story ( that he’s got referred to as being #MeToo-inspired) keeps the bare bones of Moliиre’s satire, whether or not the environment is just a little different: It offers a brutal and arrogant medication lord known as Don Ernesto (played by the consummate pro John Padilla) getting set to marry young Eva (a sharp and deceptively delicate Yvette Angulo), that has been sequestered in a convent for decades.
As Ernesto places it: “Men’s matches are created to purchase. Why don’t you a spouse?”
A dapper and erudite professor to impress Eva, Ernesto is masquerading as an alter ego. The pending wedding, however, coincides using the loss of Ernesto’s archrival, plus the arrival of his grieving son, Don Mario (a tremendously funny and athletic Jose Balistrieri, lending matinee-idol design).
Mario and Eva immediately fall in love; Mario confesses all to Ernesto, maybe not realizing whom he could be; a few cartel goons (enjoyed amusing cluelessness by Daniel Ramos III and Salomуn Maya) attempt to terminate Mario; and all forms of mistaken-identity mayhem ensues, in a nod to a different big impact, William Shakespeare. (Or “Guillermo,” as the very literary Eva prefers to phone him.)
Several other figures loom large, too. Sigьenza pours himself as a dress that is close-fitting have fun with the witty housekeeper, Armida, who Ernesto hired away from pity after blowing up her old boss’s vehicle with Armida with it. Siguenza’s dry depiction (drag and all sorts of) produces a satisfying contrast to all or any the madness swirling around Armida.
Sigьenza’s Culture Clash compatriot Ric Salinas additionally earns laughs because the comically fawning priest, Father Alberto. (No fault of their however some homosexual humor surrounding the type can feel a retro. that is little
After which there’s Lucha Grande — a beloved singer of fiercely maudlin canciуnes, as well as the whip-cracking widow of Ernesto’s dead rival. She’s a black colored area on the attention and a massive chip on her behalf neck within the male malfeasance she’s seen, and also the matchless Roxane Carrasco plays her in positively show-stopping design.
She’s served well by music through the accomplished composer Bostich regarding the ensemble Nortec Collective. And Sean Fanning’s resourceful set demonstrates as much as the regular location changes, while Carmen Amon’s memorably over-the-top costumes, Chris Rynne’s illumination, Matt Lescault-Wood’s noise and Samantha Rojales’ projections are likewise first-rate.
That knows exactly just what Moliйre will make of most this, however in the character of Siguenza’s bilingual treasure of the brand new play, I’m going to borrow a term of approval from Lucha Grande: Orale!
‘Bad Hombres/Good Spouses’
Whenever: 7 p.m. Wednesdays; 8 p.m. Thursdays-Fridays; 2 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. (Some exceptions; seek advice from theater.) Through Oct. 27.
Where: San Diego Rep’s Lyceum Stage, 79 Horton Plaza, downtown.