It appears that maybe the Lyttleton stage was chosen instead of the Dorfman due to the particulars of Robert Jones’ stage design. The Motherfucker with the Hat is a pleasant contrast to the auditoriums past plays. The audience’s reaction however matches the reason why the U and C are replaced with asterisks, unlike the run in New York.
Addiction, pride and status are representation of the play’s themes. Veronica’s (Flor De Liz Perez) asserting speech about self-respect in the opening scene reveals contradictions. During the ninety-five minute performance many more are discovered through each character. Jackie (Ricardo Chavira), is Veronica’s childhood sweetheart and the driving force of the story. Upon the appearance of an unidentified hat, his exciting news is longer vital, instead his mission is to identify the Motherfucker.
Five economically different individuals tackle their demons yet whether living in opposite ends of the gentrified Hell’s Kitchen or even Washington Heights, their immoral actions cancel out any honesty. Desperate Housewive’s Chavira induces sympathy, yet it’s short-lived as his ego overshadows his vulnerabilities.
Your world view? It ain’t mine. And the day it is, that’s the day I shoot myself in the head. I didn’t get clean to live like that. I don’t pass on the Heineken and eightballs and the hydro so I can live some empty shit like that. That’s you. It ain’t me
The hilarious yet realistic fight scene between the true owner of the hat and Jackie reveals the latter’s true self. His macho appearance is opposed by his unsuccessful attempt at beating the Motherfucker. Instead we witness a man broken down by betrayal. Jackie’s conduct of living is confined to sticking to rules, yet his lifestyle choices push him to spiral out of control.
Veronica’s profane metaphorical speeches are ones likely to stick in memory, yet the female cast are secondary characters, despite the direction of Indhu Rubasingham. Stephen Adly Guirgis’ top lines are consigned to Cousin Julio played by Yul Vazquez. The only actor from the original cast executes each pause perfectly, and his anticipation of the audience’s reaction is of skilled experience. With threats such as “Van Damme Papi, like Jean Claude”, he becomes the reason to why the play is enjoyed.
The play reveals mundane flaws that humanity posses and addiction exemplifies. The empty rows at the top end of the stalls do baffle. This is not the target audience for gritty profane drama. An overheard complaint about ‘who would pull a gun out on a neighbour?’ is evident that the problem lies within the choice of auditorium.
Onstage till 20/08/15
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