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

During the threat of sounding that is flip 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.

The blurts of a sousaphone serve as both musical accompaniment and sly comic commentary on the deliriously antic action in the San Diego mail order wife Rep world premiere of Herbert Sigьenza’s Moliиre-goes-modern mashup.

Plus the guy whom plays it as he roves round the stage — the tubaist that is talented Kuicho Rodriguez — becomes something similar to a wordlessly wry Greek chorus (in the event that ancient Greeks had gotten around to forming marching bands).

It’s the type 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 old goat attempting to groom an ideal, subservient spouse — the playwright has brought their singularly eccentric sensibilities to fresh creative levels.

And also as directed with a yen when it comes to 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 within the early 1990s.

Sigьenza’s story ( which he’s referred to as being #MeToo-inspired) keeps the bare bones of Moliиre’s satire, regardless if the environment is just a little various: This has 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 puts it: “Men’s matches are created to purchase. Why don’t you a wife?”

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

Mario and Eva immediately fall in love; Mario confesses all to Ernesto, maybe maybe not realizing whom he could be; a couple of cartel goons (played with amusing cluelessness by Daniel Ramos III and Salomуn Maya) attempted to terminate Mario; and all sorts of forms of mistaken-identity mayhem ensues, in a nod to a different big impact, William Shakespeare. (Or “Guillermo,” as the highly literary Eva would rather phone him.)

A couple of other figures loom large, too. Sigьenza pours himself in to 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 automobile with Armida on it. Siguenza’s dry portrayal (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 however some homosexual humor surrounding the smoothness can feel a retro. this is certainly little

After which there’s Lucha Grande — a beloved singer of fiercely maudlin canciуnes, while the whip-cracking widow of Ernesto’s dead rival. She’s got a black colored spot on her behalf attention and a massive chip on the neck within the male malfeasance she’s seen, together with matchless Roxane Carrasco plays her in definitely show-stopping design.

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 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 just just just what Moliйre will make of most this, however in the nature 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’

When: 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.