culture@dailylobo.com
We need to start here.
Yes, this play is called “The Motherfucker with the Hat.” You can giggle about it, too, if you like. It’s fine. “Motherfucker” is a funny word. Richard Pryor discovered its usefulness ages ago.
I hope to see other poetic musing in this pattern, such as “The Asshole with the B.O.” or “That Fat Loser Over There.”
Obviously, the title will strike immediately with its bombastic abrasiveness. Breasts and exploding heads and naughty words have long been a part of movies, and theater is even more open and less regulated than modern movies. But even “Casino” wasn’t called “Motherfucking Casino.”
The rabid profanity is fairly amusing in and of itself, but it feels more like a gimmick than natural speech. It’s less about what is said and more about how it’s said. Admittedly, this is a huge part of comedy. But the language more or less fades to a more normal level after the first couple of scenes, sticking to using “fuck” as a verb rather than a fucking constant intensifier.
But what’s “The Motherfucker with the Hat” about?
It’s about two hours with no intermission, which seems an odd choice. It’s divided into nine separate scenes, so it wouldn’t have been that difficult to place an intermission.
The story, however, is about a series of drug-addicted Puerto Ricans who are living in New York. They all curse a lot and probably remind you of people you know.
Each character has his or her own set of shortcomings, which causes their collective moralizing to create a massive Venn diagram of poor choices and justifications.
Jackie is our stalwart protagonist, played by Ed Chavez. Jackie, a former drug dealer recently released from prison, is attempting to get clean from alcohol and anger. The farcical plot is driven by Jackie‘s poor choices and the terrible people who surround him.
Veronica, played by Alicia Lueras Maldonado, is Jackie’s girlfriend. She continues to use cocaine and probably other drugs, but this is such a minor aspect of her character, which affects events so minimally, that it’s easily forgotten. Although Veronica is the linchpin for virtually all the play’s events, she does and says very little. The play revolves around her, but beyond her bombastic and profane opening scene, she largely disappears for the rest of the play.
Get content from The Daily Lobo delivered to your inbox
Ralph D., played by Eliot Stenzel, is Jackie’s Alcoholics Anonymous sponsor. Stenzel plays a great, slimy blowhard and puts on a truly believable performance. Ralph has his own set of vices that replace his alcoholic ones, and his negative qualities are compared mainly to Jackie’s during the course of the play. Jackie disagrees with Ralph’s worldview, calling it “your whaddyyacallit,” so Jackie seems less educated but is still able to articulate the play’s point.
Victoria is Ralph’s estranged wife, played by Michelle Estrada Allred. Her character is stunningly natural and real. Allred delivers a genuine performance in an unfortunately small role, which seems much more like a real person than a part in a play.
The absolutely most enjoyable performance, however, is Efrain Villa playing the endearingly childlike Julio. Comedy comes easily to Villa and he is consistently amusing.
Although the core characters are chiefly Puerto Ricans and New Yorkers, the head-bobbing sass and comedic vitriol translate well for Albuquerque audiences.
The title itself is the name of a character who never actually appears, and the repetition of his name is one of the play’s better gags.
Structurally, the writing of the play is effective and savvy with its narrative. Each scene changes the stakes for the characters, and the audience’s knowledge and view of each of the characters changes at the drop of a motherfucking hat. The scenes near the end, unfortunately, drag quite a bit, as arguing characters tend to repeat themselves and talk in circles.
The play is certainly a crowd-pleaser with its dirty jokes and high energy. It is many things, but it is certainly not dry. Perhaps with something like “The Bitch-face with Angina,” the magic can continue.
The Motherfucker with the Hat
by Stephen Adly Guirgis
directed by Leslee Richards
The Vortex Theatre
2004 1/2 Central Ave. S.E.
Friday and Saturday at 7:30 p.m.
Sunday at 2 p.m.
Runs through Sunday
Content advisory:
The play contains strong language and adult situations.
It is not recommended for viewers younger than 18.
$18 general admission
$10 student rush, sold five minutes before curtain if seats available
For tickets and reservations, visit
VortexAbq.org or call (505) 247-8600
