Review: There's No Excuse Not to See Obsidian Theater's THE MOTHERF*#CKER WITH THE HAT

There's no doubt that Obsidian Theater's THE MOTHERF*#CKER WITH THE HAT wins the award for most attention-grabbing title of the season, but does James Belcher's production live up to the promise of that title? Is it as honest and unapologetically in-your-face as that title would have you believe?

Why yes, it is.

But let's start with Jackie (Luis Galindo), a 21st century Nuyorican Ralph Kramden -- that is, if he was also an addict in recovery and CBS allowed cursing (a lot of it) in 1950s primetime. Jackie is in high spirits; out of jail and newly employed, he can't wait to "celebrate" with his middle-school sweetheart Veronica (Patricia Duran). That is, until he sees it. The hat, sitting alone, unassumingly on a side table. The only logical conclusion is that the hat belongs to the man Veronica's been cheating with, which must mean Veronica's been cheating. Despite her denials and assurances that she loves Jackie, the discovery sets Jackie down a dark road, both dangerous to his sobriety and potentially deadly to the motherf*#cker with the hat.

Recently, in a profile of actress and MOTHERF*#CKER WITH THE HAT co-star Courtney Lomelo, Broadway World editor Katricia Lang pointed out that "[e]verything must be pitch perfect, especially the performances" in a production of Guirgis's play, one with everything from an unprintable title to past mixed reviews working against it. Fortunately for the folks behind Obsidian's production, you may not see more pitch perfect performances this season.

The play, by Stephen Adly Guirgis, is quick-witted and relentless; it's main characters open veins bleeding across the stage, not that they'd admit it. They're messy, like their relationships, but they are also people who desperately hide themselves, emotions deflected through words (pathetic excuses, reaching justifications, ice-cold logic and general smart-assery), many of which are profane. It's a tall order for an actor, to play characters with such inherent un-likability and make them someone you might still root for. But the cast does it, and they do it well, beginning with Galindo.

Galindo carries much of the show on his increasingly worn-down shoulders. He lets it all hang out as Jackie, whether he is circling the small apartment he shares with Veronica, disbelief and eventually rage settling over him like the first dark clouds of an impending storm, or breaking down completely on the floor of that same apartment, at a drunken loss for how to fix the things that have always been broken.

Matching Galindo step by step, the Alice to Galindo's Jackie, Duran's Veronica isn't afraid to turn her sharp tongue on him or anyone else. Veronica stuffs feelings deep down in ulcer-causing territory, struggling herself with drug issues and life-long disappointment. Duran allows Veronica's vulnerability to poke through until she is as broKen Down as Jackie, and the audience thinks maybe it's best if the boy doesn't get the girl for once.

Atseko Factor plays Ralph D., Jackie's sponsor, dropping tips for living and plenty of "wisdom" on Jackie at every turn. Ralph D.'s ultimate role in the play is unsurprising, yet Factor is still able to accomplish an impressive feat -- pretending to be a person pretending to be a person, all while telegraphing his true nature, which still manages to feel like a surprise and a great affront, not only to Jackie but to the audience.

Cousin Julio, played by Rhett Martinez, is a character that could easily fall into stereotype, or a cringe-worthy caricature, but instead he is the heart and light of the entire show. Guirgis's writing in turns defies simple expectations, celebrates and subverts them. His writing, coupled with Martinez's performance, creates the show's most stand-out character, the most likable of the bunch, which (admittedly) is a low bar. Guirgis's affection for the character is clear, as he even lets him sum up one of the shows biggest themes: "It's funny how people can be more than one thing at once."

And Courtney Lomelo, as Ralph D's chronically-unhappy wife Victoria, has the "bad" habit of stealing each of her scenes, her character more perplexing than others, and more sympathetic too.

I will add that though the show ramps up in intensity throughout, after the climax it's never really able to shake off that lingering, anti-climactic feel. But that's a minor gripe. Overall, this is one of the best shows to come through these parts in a long time.

I'll admit, selfishly, it's been a good couple of weeks, with overlapping runs of both IN THE HEIGHTS and THE MOTHERF*#CKER WITH THE HAT. Two very different shows, but both with humor and charm, excellent writing and performances, and cast diversity. IN THE HEIGHTS is over, but THE MOTHERF*#CKER WITH THE HAT isn't, so you have no excuse not to see it.

THE MOTHERF*#CKER WITH THE HAT runs through October 8 at Obsidian Theater, 3522 White Oak Drive. For information, call 832-889-7837 or visit obsidiantheater.org. $20 - $30.

Photos courtesy of Pin Lim and Courtney Lomelo.

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