Vintage Theatre wraps its season with Tony Meneses’ funny, heartwarming play

Vintage Theatre has boldly expressed LGBTQ+ inclusivity as Pride Month begins, culminating with Tony Meneses’ powerful play The Hombres (The Men). This past season, no fewer than four productions, including Fun Home and Cabaret, have directly or indirectly focused on the LGBTQ+ experience. The Hombres hits the bullseye as a testament to the theatre’s unwavering commitment to diverse storytelling. This production, directed by Dana Hart Wright, is a satisfying end note to a robust season at Vintage Theatre.

As a contemporary playwright, Tony Meneses brings his award-winning talent and his Latin background to the forefront of his plays. The Hombres is a prime example of his ability to incorporate elevated ethnic elements, adding depth and richness to the story.

Set in New Jersey, it is a split-stage between the peaceful confines of a yoga studio and a clamoring construction site. Héctor (Joaquin Liebert), Pedro (Brandon Lopez), and Beto (Brandon Billings) work the site and infringe on the serenity of the yoga studio with their noise-making equipment. As presented, these men are prime examples of Latin machismo and clearly share an ethnic bond.

Although primarily interested in the attractive women attending classes, the construction workers are keenly aware of a change in demeanor among those who use yoga as part of their daily routine.

Julián (Conrad Mata), openly gay and the studio’s instructor, is a complex character encountered one day by Héctor, a man seeking redemption and new life skills through yoga.  Héctor, who is desperate to return to his wife, whom he has perhaps physically abused, embarks on a journey of self-discovery through yoga. His ultimate transformation and the potential for change inspire hope in the audience.

Conrad Mata and Michael Gurshtein | Photo: RDGPhotography

Explorations of masculinity

In a moment of high anxiety for Héctor, he and Julián agree to an “arrangement” that involves yoga lessons in exchange for janitorial work, setting the stage for a transformative journey for both. All this changes Héctor and is ultimately noticeable to both Pedro and Beto. They want to know, “What’s up?”

In the meantime, Julián also teaches Miles (Michael Gurshtein) the elements of yoga, with an underlying subtext prevalent between the two men. Miles is about to get married but also shows interest in Julián bubbling beneath his heterosexual surface.

The script lays out a variety of scenarios, mostly surrounding the lifestyle of heterosexual macho men and their ultra-masculinity and that of the openly homosexual man, with some themes being subtle and others not so much. There is intense speculation about the true nature of these out-of-place relationships that unfold during the play. Although served by the script, it can sometimes be predictable and lacking nuance. Meneses does not shy away from certain stereotypes while disguising them at other times.

Dana Hart Wright’s direction of the production is wonderfully thought-out, establishing two distinct subgroups — the reality of the construction site and the immersive yoga studio. While creating a somewhat choppy existence when moving between the two playing spaces, this choice adds depth to the production. Wright’s focus on relationships also provides palpable intrigue, making the play a gripping experience that masks some transparent characterizations.

Brandon Lopez in ‘The Hombres’ | Photo: RDGPhotography

Standout performances

Standouts in the production include Mata as Julián, the most multi-layered role in the play. He is openly gay, but this never drives Mata with his well-rounded characterization. Gurshstein, as Miles, quietly smolders beneath the surface in what appears to be a man searching for something from both yoga and Julián. And in the role of Beto, Billings, while being outright homophobic for much of the play, can convincingly turn that around before the finish. As noted in the program, this is Billings’ final performance with Vintage — for now — as he is enrolling in an MFA acting program at Florida State University/Asolo Theatre in Sarasota.

The Hombres is a hopeful, funny, poignant examination of masculinity and sexuality and the bonds that connect men, even across several distinct cultures. A perceptible level of vulnerability plays throughout, creating a sense of acceptance and intimacy. Vintage Theatre has integrated an inclusive production as its final entry, with kudos to a well-thought-out season and a remarkable finish.