'Kiss My Aztec' at Hartford Stage: Great Fun, Music and Performances. Go!
The show: “Kiss My Aztec!” at Hartford Stage
What makes it special?: First, it’s written by John Leguizamo and Tony Taccone. It’s a new musical, previously presented at Berkeley Repertory Theatre and La Jolla Playhouse, and further developed here — with an eye to New York.
Is Leguizamo in it?: No, but his spirit certainly is.
In what way? In the way he wants to share Latinx history and the stories of his heritage — but in a way that is funny, saucy, puckish, dopey, and above all — entertaining. And it certainly is.
Cut to the chase. What did you think of the production?: I went in to the show skeptical (the title had my eyes rolling) BUT the title, in fact, captures the silly and outrageous sense of the work just right. Bottom line: I loved this show and everyone in it. It was one of the best times I’ve had in the theatre all season.
What’s it about?: Essentially the Spanish domination of the Aztec empire.
That’s not funny: No, but Leguizamo and Taccone have created a story that empowers the Aztec heroes and celebrates its people and history. It does it so through laughter, music and dance, and — this is important — not in a precious way. This show has a wild — and yes, sometimes ridiculous — theatricality that bursts with pride and creativity. Even when then jokes or the moments don’t quite work perfectly, it’s never dull. Think “The Book of Mormon” or “Monty Python.”
Spanish conquests. Hmmm,. That’s a lot to take in and doesn’t lend itself to happy endings: The show smartly focuses on one strategic battle between the invading Spaniards and the Aztecs , and one couple in particular — a female warrior Colombina (Krystina Alabado, with a stunning set of pipes) and the sock puppet-loving Pepe (Joel Perez, adorable, in a star making performance) who loves her and turns into a different kind of hero.
Sock puppets?: Yes, and this is one of many examples where Leguizamo’s loopy humor is so daft it’s endearing. He and Taccone’s main purpose is to entertain — not just instruct (a lesson many new works with noble intentions could follow). They get all the help they need from an inspired design team, choreographer (Mayte Natalio, terrific) and cast.
Designer Clint Ramos creates a versatile scaffold playground of vibrant and overlapping murals —that also allows for efficient and fast-moving function. His costumes are also a combination of traditional and modern that make a fashion statement of its own, all bursting with dazzling color. (I can imagine seeing some of these designs in upcoming catalogues.) Also top shelf is Alexander V. Nichols’ lighting and Jessica Paz and Beth Lake’s sound design allows every word and lyric to be heard perfectly.
It’s a musical, right, not just “a play with music:” Absolutely. And in the traditional of “Anastasia” and “A Gentleman’s Guide to Love & Murder”, this show has Broadway aspirations. (Commercial producer Joey Parnes is attached to the show.)
The music by Benjamin Velez (with lyrics by David Kamp, Velez and Leguizamo) tap into a wide range of appealing genres from “Hamilton”-style rap (a great exposition tool), tango, ballads, pop numbers,. blues — and they’re all blessedly tuneful, and backed by an unseen dynamic orchestra (with orchestrations by Simon Hale).
And the cast?: Perhaps the best element of the show, with the entire ensemble of killer singers all performing on the same page and sharing the same sense of style, energy and spirit. (The show never flags — well, almost never.) Beyond the extraordinary Perez and Alabado and their stunning vocals, there’s Z Infante, hysterically funny and wickedly clever in dual roles; Richard Ruiz Henry is a riot as a cock-sure Frenchman; Matt Saldivar also in dual roles, also deliciously funny in both; Desiree Rodriguez’ lusty Pilar is a force of nature (and the electric fan on a conveyer belt is one of the funniest bits of business, apropos of nothing) ; Eddie Cooper’s villainy is deliciously funny and and Maria-Christina Oliveras takes command in every scene.
Any reservations?: It needs some trimming here and there — at 2 and a half hours it’s a bit long. And it still hasn't figured out a dynamic ending to match the inventiveness of the rest of the show. The final battle is….meh. And some of the jokes do not need repeating as much wearing out its dubious welcome. But overall, small fixes.
Who will like it?: Fans of Leguizamo; outrageous silly sometimes stupid comedy; Latinx folks.
Who wont?: Conquistadors. Will it appeal to everyone? No. But neither did ”The Book of Mormon” and other comic concepts that dare to be so bold. But I for one, had a great time and — dare I say — even learned a few things about a culture that is not my own.
Fior the kids:? There’s a few naughty words and props but they’re just so silly or dumb it’s nothing they haven’t heard before. And young people will connect to the in-your-face, brazen, hip-hop style of historic reappropriation. It’s hardly a Latinx ”Hamilton,” but there are moments….
Info: Runs through June 26 at Hartford Stage, 50 Church St. Hartford. Masked and Vaccination Required Performances: For patrons who would still prefer to be in an audience with masks required, we will continue to offer select performances with mandated masks and vaccination check at the door: Wednesday, June 15 at 2 p.m, Friday, June 17 at 8 p.m., Saturday, June 25 at 2 p.m.