REVIEW: Las 22+ Bodas de Hugo (GALA Hispanic Theatre)
There’s lots of discourse on polyamory these days.
The ethics, the risks, the ever-important logistics. Personally, I’ve got no problems with its existence in society; it just sounds like a lot to juggle. But it feels particularly onerous to me after watching GALA’s newest premiere, Las 22+ Bodas de Hugo (The 22+ Weddings of Hugo), this past Friday. Dramatizing the true story of a postal worker who fakes names and addresses to marry nearly two-dozen people, and subsequently keeping up appearances to evade being found out, this two-hour meet-cute serves up a healthy dose of optimism and charm that can re-instate one’s faith in the good of humanity. (GALA Artistic Director Gustavo Ott also serves as the playwright.)
Book
You may be wondering why this guy married 18 women and four men. I’ll try not to spoil, but there are certain themes that GALA enjoys including in their works, due to political intrigue, audience experiences, or often a mix of both. Let’s just say that Hugo marries 22+ people as an ultimate act of civic inclusion. His position as a postal worker allows him to assume identities to keep up these betrothals (I wish there was a Kimberly Akimbo-esque musical number documenting the process). While there is comedy laying in the madcap personalities of his spouses, the two-act piece is unassumingly a slow-burn about a veteran with personal struggles finding a uniquely Hail Mary way of figuring it out. As of the setting of the play, he maintains contact with three of them: his husband Elmar, and wives Irene and Wafa (16, 17, and 18). Each are written with charm, balanced such that there constant alley-oops between Hugo and his spouses that give insight into their predicaments and why Hugo decided to marry him. Ultimately, a delightfully bittersweet ending persists, and Hugo’s pride practically leaps into the crowd as he puts the “+” in “22+ Bodas”. 8/10
Acting
Three GALA favorites — Carlos Castillo (Hugo), Yaiza Figueroa (Irene), and Victor Salinas (Elmar) are joined by Cuban actress Giselle Gonzales (Wafa). This bright ensemble excels with Ott’s rapid-fire dialogue, and with it effortlessly establishes chemistry as mutual spouses to Hugo. Some of the best scenes in the play are when more than one of them are in the room, and their riffs range from insightful to just plain funny. 8/10
Production
Jose Zayas’ lush production is overrun with a diverse array of flora. Representing the countless families that Hugo has allowed to establish roots, Grisele Gonzalez provides a beautiful zest to the staging that is unimpeachable. Additionally, Hugo’s openness is reflected in how sparse the framing of the house is — literally elevated by several feet above the action, allowing as much activity to flow in the air as possible. Rukiya Henry-Fields’ costumes can’t go unsung either, with their festive colors and resolute storytelling. 7/10
Viz
It’s important that the piece’s big heart is represented from the get-go; the key art emphasizes it with suavely framed pictures of Hugo on his wedding days. Yet the house in which the play largely takes place visually doesn’t do much besides inform a venue. It’s open and inviting though, much like our protagonist. 7/10
Verdict
Las 22+ Bodas is a heartwarming and visually astute parable of selflessness in which one man’s actions provides a terrific example of using your power in society for good. 30/40
