“The Hombres” is a thoughtful examination of friendship, masculinity, and the surprising ways personal growth can occur in the unlikeliest of places.
There is a moment at the beginning of the production where Julián, a yoga instructor, speaks directly to the audience and invites everyone to take a collective breath, much like the start of a yoga class. As the entire audience inhaled and exhaled together, the theatre instantly transformed into a shared space. It is a simple but remarkably effective opening that prepares everyone for the journey ahead, while also subtly warning you that you may be doing some emotional stretching before the evening is over.
Set in New Jersey, “The Hombres” follows three Latino construction workers whose lives become intertwined with the yoga studio next door to their job site. Héctor (Martín Solá), the gruff foreman, secretly begins to show interest in learning yoga, and the change in his demeanor confuses his coworkers, Pedro (Jesse J. Perez) and Beto (Sanchez). Yoga instructor Julián (Jonny Beauchamp), who has his own trust and friendship issues with other men, finds himself juggling how to process Héctor’s request while also trying to get to know new yoga student Miles (Robert Lenzi). Along the way, the men begin questioning long-held assumptions about masculinity, strength, and vulnerability.
Like “Alien Girls” before it at The Old Globe, “The Hombres” gives audiences an intimate look at a friendship, in this case, close male friendships. Each of these men is afraid of something, searching for something, and often not entirely sure what that something is. The yoga studio becomes a safe space where they can explore different ways of being men in a world filled with expectations about who they should be. It is poignant, but Meneses wisely keeps the laughs coming. The result is a play that explores race, economics, sexuality, identity, and friendship without ever feeling like a lecture.
Director James Vásquez keeps the humor and sweetness at the forefront throughout. Even when the story ventures into more serious territory, the production never loses its warmth. Vásquez carefully establishes the two distinct worlds of the play—the grittier construction site and the calming yoga studio—while emphasizing the friendships that gradually bridge the gap between them. He keeps the focus firmly on the heart of every relationship, allowing the emotional moments to land naturally rather than forcing them.
Beauchamp brings warmth, humor, and sincerity to Julián, while Solá gives Héctor a tough exterior that slowly reveals surprising vulnerability. Their unlikely friendship becomes the emotional anchor of the play.
Perez and Sanchez generate many of the evening's biggest laughs. Perez's endlessly cheerful Pedro is particularly delightful when he begins embracing yoga and healthier habits, enthusiastically trying to convince the horrified Betor that salads are actually delicious. Sanchez also delivers a compelling arc as Beto struggles to reconcile his ideas of masculinity with the examples unfolding around him. Lenzi is charming as Miles, one of the few male students in the yoga class, who is navigating life changes that challenge how he sees himself and his future.
David I. Reynoso's scenic and costume design beautifully blends the seemingly opposite worlds of construction and yoga within the intimate theatre-in-the-round setting. The construction site and yoga studio are clearly defined, yet visually intertwined, reflecting the gradual overlap of the characters' lives. There is a juxtaposition between the two spaces: both require physical strength and discipline, yet one is considered rugged and masculine while the other is often dismissed as soft and pampered. Like the men at the center of the story, the wood used for the construction platforms and the wood flooring of the yoga studio are, at their core, the same, even though they become vastly different from each other.
Leon Rothenberg's sound design and Brandon Rosen's lighting further enhance the atmosphere, with warm light glowing through the metal scaffolding that towers above the peaceful studio below.
At its core, “The Hombres” is about the bonds people create when they allow themselves to be seen. Funny, bittersweet, and ultimately hopeful, it asks audiences to reconsider assumptions about masculinity while celebrating the power of friendship. Much like the yoga class at its center, the play encourages everyone to loosen up a little, breathe a little deeper, and maybe be open to discovering something unexpected about themselves along the way.
How To Get Tickets
“The Hombres” is playing at The Old Globe through June 21st. For ticket and showtime information, go to theoldglobe.org
Photo Credit: Photo by Rich Soublet II.
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