Review: ‘Bad Hombres/Good Wives’ is definitely an inspired stream of renegade humor at San Diego Rep

Review: ‘Bad Hombres/Good Wives’ is definitely an inspired stream of renegade humor at San Diego Rep

During the danger 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” might 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.

And also the man whom plays it as he roves round the stage — the tubaist that is talented 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) whom really loves placing classics by way of a pop-culture Mixmaster.

But with “Bad Hombres” — built around Moliиre’s “School for Wives,” about a chauvinistic goat that is old to groom an ideal, subservient spouse — the playwright has brought their singularly eccentric sensibilities to fresh creative levels.

So that as youtube com watch?v=NVTRbNgz2oos reviews directed by having a yen when it comes to kinetic by Rep chief that is artistic Woodhouse, the play has its ladies not only 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 referred to as being #MeToo-inspired) keeps the bare bones of Moliиre’s satire, regardless of if the environment is only a little various: It offers a brutal and arrogant medication lord 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 a long time.

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

A dapper and erudite professor to impress Eva, Ernesto is masquerading as an alter ego. The pending wedding, however, coincides utilizing the loss of Ernesto’s archrival, while the arrival of their grieving son, Don Mario (a rather funny and athletic Jose Balistrieri, lending matinee-idol design).

Mario and Eva immediately fall in love; Mario confesses all to Ernesto, perhaps 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 sorts of types 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.)

A couple of other figures loom large, too. Sigьenza pours himself right into a close-fitting gown to play the witty housekeeper, Armida, whom Ernesto hired away from shame after blowing up her old boss’s vehicle with Armida inside it. Siguenza’s dry depiction (drag and all sorts of) produces a satisfying contrast to any or all the madness swirling around Armida.

Sigьenza’s Culture Clash compatriot Ric Salinas additionally earns laughs since the comically fawning priest, Father Alberto. (No fault of their many homosexual humor surrounding the smoothness can feel a small retro.)

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

She’s served well by music through the accomplished composer Bostich of this ensemble Nortec Collective. And Sean Fanning’s resourceful set shows 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 exactly what Moliйre would make of most this, however in the nature of Siguenza’s bilingual treasure of the play that is new 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.