Review: ‘Bad Hombres/Good Wives’ is definitely a blast that is inspired of humor at San Diego Rep

Review: ‘Bad Hombres/Good Wives’ is definitely a blast that is inspired of humor at San Diego Rep

In the danger of sounding flip — which wouldn’t do justice to a winningly bonkers comedy which took its female-empowerment themes seriously — “Bad Hombres/Good Wives” may just motivate both a hashtag and a theatrical genre: #MeTuba.

Into the San Diego Rep world premiere of Herbert Sigьenza’s Moliиre-goes-modern mashup, the blurts of the sousaphone act as both musical accompaniment and sly comic commentary in the deliriously antic action.

Additionally the man whom plays it while he roves across the stage — the skilled tubaist Adrian Kuicho Rodriguez — becomes something such as a wordlessly wry Greek chorus (in the event that ancient Greeks had gotten around to developing marching bands).

It’s the type of anything-goes gambit that frequently animates plays by Sigьenza, the Rep resident playwright (and co-founder of this pioneering Chicano troupe tradition Clash) who really loves putting 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 had their singularly eccentric sensibilities to fresh artistic levels.

So when directed with a yen for the kinetic by Rep creative chief Sam Woodhouse, the play has its own ladies not only switching the tables but flipping them together with some hapless men’s minds, amid the ultra-macho milieu of Mexican medication cartels into the early 1990s.

Sigьenza’s story ( which he’s got described as being #MeToo-inspired) keeps the bare bones of Moliиre’s satire, even when the setting is just a little various: This has a brutal and drug that is arrogant called 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 many years.

As Ernesto places it: “Men’s matches are created to purchase. You will want to a wife?”

To wow Eva, Ernesto is masquerading being an alter ego — a dapper and erudite teacher. The pending wedding, however, coincides aided by the loss of Ernesto’s archrival, while the arrival of their grieving son, Don Mario (an extremely funny and athletic Jose Balistrieri, lending matinee-idol style).

Mario and Eva immediately fall in myrussianbride love; Mario confesses all to Ernesto, perhaps perhaps not realizing whom he could be; a few cartel goons (enjoyed amusing cluelessness by Daniel Ramos III and Salomуn Maya) attempted to terminate Mario; and all types of mistaken-identity mayhem ensues, in a nod to some other big impact, William Shakespeare. (Or “Guillermo,” as the very literary Eva prefers to phone him.)

A couple of other figures loom big, too. Sigьenza pours himself as a dress that is close-fitting have fun with the witty housekeeper, Armida, who Ernesto hired away from shame after blowing up her old boss’s automobile with Armida with it. Siguenza’s dry depiction (drag and all sorts of) creates 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 his however some homosexual humor surrounding the smoothness can feel a small retro.)

After which there’s Lucha Grande — a beloved singer of fiercely maudlin canciуnes, and also the whip-cracking widow of Ernesto’s dead rival. She’s a black spot on the attention and an enormous chip on her behalf neck on the male malfeasance she’s seen, plus the matchless Roxane Carrasco plays her in positively style that is show-stopping.

She’s served well by music through the composer that is accomplished regarding the ensemble Nortec Collective. And Sean Fanning’s set that is resourceful as much as the regular location shifts, 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 what Moliйre would make of most this, however in the character of Siguenza’s bilingual treasure of the brand new play, I’m going to borrow a phrase 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; talk to theater.) Through Oct. 27.

Where: San Diego Rep’s Lyceum Stage, 79 Horton Plaza, downtown.