If you weren't offended by Culture Clash's Zorro in Hell, you were either not listening or not looking. The show is very funny and very profane. The F-word is used as a verb, noun, adjective, and adverb. The one-liners flow so fast as to make a stand-up comedian envious.
Culture Clash (Richard Montoya, Ric Salinas, and Herbert Siguenza) are supported by Joseph Kamal, Sharon Lockwood and Vincent Christopher Montoya. The latter Montoya also doubles quite effectively on the guitar.
Zorro deals with a reporter's search for the roots of the fable of Zorro. It is a look at the history and current state of affairs in California. We are taken back to the early days of California, to an inn run by a Zorro fanatic (Sharon Lockwood). The scenes are constantly shifting locations and periods. There are sword fights, gun battles, dream sequences (or were they dreams?), and total madness on the stage of the newest of the La Jolla Playhouse theaters. There are full-screen projections of Zorro films. The mayhem even comes out to the audience. The production is book-ended with the reporter confined and restrained in a hospital, with two black-coated men interrogating him.
The show is a true ensemble piece and assigns each cast member a number of roles. The topical dialogue includes many references to local areas and institutions: Mayor Hedgecock, Southwestern College, Chula Vista, Trader Joe's, Hillcrest and more are mention and maligned. Gays, bi's, lawyers, whites, Hispanics, blacks, Asians, politicians (especially Bush #2), and everybody else has a chance to be abused.
The first act is fast paced and fun, with very few moments when the theater does not echo with laughter. There was an especially good take-off on "Apocalypse Now."
Technically, Culture Clash's Zorro in Hell is awesome. Christopher Acebo's scenic design is excellent. Alexander V. Nichols lighting and video projects work well. Robbin E. Broad's sound is overpowering. Costumer Christal Weatherly produces an impressive variety of period and unique costumes.
Though the cast executes the script with vigor, the writing became sloppy in the second act and rehashes itself with second-hand jokes. Attacks on the current administration, especially the leader, may or may not have be justified, but they, too, become a tiring tirade.
