Jesse J. Perez and Jason Sanchez (Photo by Rich Soublet II)
Reviewed by Keelyn McDermott
Old Globe Theatre, San Diego
Through June 21
Jesse J. Perez, Jason Sanchez, Martín Solá, Jonny Beauchamp (Photo by Rich Soublet II)
Tony Meneses’s The Hombres follows a group of male construction workers who end up in a yoga studio, forcing them to confront the masculine cultural expectations that constrain the depth of their relationships. Héctor, played by Martín Solá, goes on a journey of self actualization through his burgeoning relationship with the only male instructor at the yoga studio, Julian (Jonny Beauchamp). Meanwhile, Julian grapples with his own feelings of being an outsider – in masculinity and his not knowing Spanish like the Latino construction workers, while being Latino himself.
The Old Globe Theatre is a home of theatrical excellence in San Diego, but this presentation does not hold up to the standards of other productions of the season thus far. The Hombres doesn’t fully commit to being a comedy as advertised, while it suffers from a script, though fitfully entertaining, that glosses over the important issues it addresses.
Scenic and Costume Designer David I. Reynoso’s impressive attention to detail homes in on the blending of two seemingly opposite gendered spaces: the construction site and the yoga studio. The construction site looms over and surrounds the main floor of a yoga studio, a nod to the physical world described in the play as well as “looking down” or rejecting the feminine – a banishment that often defines a major part of masculinity. Reynoso’s set features an array of stage-friendly construction equipment, including a welding tool with “flame” and sound.
However impressive the in-depth design vision may be, it’s in the service of a facile play that, despite some comic scenes that land well, lacks stakes, dramatic tension and a plot that unfolds. In what seems to be an attempt to keep the play entertaining and inviting (as playwright Meneses discusses in the program), the play is better off with the comedic moments that land. Still, Meneses doesn’t fully commit to the genre that he teases out, as one could argue that there are more dramatic moments than comedic. The weightier ideas are compelling – the harm generated by societal expectations of masculinity, and what those expectations can do to male relationships. After introducing such provocative and timely ideas, the play defers from diving into any one character or topic, so that moments of drama perhaps intended to be hard hitting merely fall flat. Only Jesse J. Perez, who plays Pedro, seems to relish his moments of strong physical comedy, while the other characters and overall plot have few such moment, under James Vásquez’s direction.
One relationship that does feel fleshed out and is most to the point is that of the two main characters, Héctor and Julian. Unfortunately, our time with these two gets dispersed by a dubiously relevant subplot. A powerful dance performed by Julian in front of Hector emerges as the play’s emotional culmination: Choreographer Rebecca Murillo’s work perfectly executes Julian’s processing of the harm of masculine stoicism and how it prevents true platonic love between men. This dance beautifully expresses what is then needlessly restated in words at the play’s conclusion.
Sheryl and Harvey White Theatre. Conrad Prebys Theatre Center. 1363 Old Globe Way, San Diego, CA 92101. May 30 – June 21, 2026. https://www.theoldglobe.org/pdp/26-season/the-hombres/#?startDate=2026-06-01&%3FendDate=2026-06-30 Running time 85 minutes, no intermission.
