Review: ‘The Motherf*er with the Hat’ at Odyssey Theatre
- Dondre Tuck
- Aug 26
- 3 min read
Updated: Sep 17
Stephen Aldy Guirgis’s “The Motherf*er with the Hat” at the Odyssey Theatre, directed by Jolie Oliver, dives into betrayal, love and the fragility of trust with a raw edge and dose of humor.
The story follows Jackie (Lodric D. Collins), a recovering alcoholic fresh out of prison, who thinks life is finally moving in the right direction with girlfriend Veronica (Jordan Marinov), until he discovers a hat in her apartment that isn’t his. Unsure what to do, Jackie runs to his Alcoholics Anonymous sponsor Ralph (Alex Désert) to help him navigate this situation.
The acting is strong across the board, with Désert as Ralph delivering the most grounded and heartfelt performance of the show. His dynamic with Collins as Jackie stands out, giving the audience both the warmth of their bromance and the sting of heartbreak when trust is eroded. Marinov as Veronica, Oliver as Victoria and Carlos Moreno, Jr. as Cousin Julio add comic relief, keeping the energy alive and audience engaged.
Oliver’s direction keeps the pacing sharp, and the intermission left me eager for more. The blocking was well thought out, giving every performer visibility and presence. The overall staging and flow were impressive.
I will say, though, that after an altercation between Jackie and Veronica, the rest of the show falls a bit flat. In the next scene, Jackie expresses disbelief over Ralph’s cheating while also regretting what he said to Veronica. Cousin Julio tries to offer reassurance, though Jackie is unwilling to accept help, leading Julio to instead share a childhood memory.
In my opinion, Oliver as director doesn’t capture the weight of this scene. It’s a clear opportunity for both characters to show vulnerability, yet the moment feels trivialized instead of profound. That lack of depth carries over into the climax of the following scene, where the seriousness of the moment lacks vigor.
Visually, Amanda Urrego’s scenic design strikes a balance between simplicity and purpose, each space crafted to reflect the characters’ lives. Pops of color in Cousin Julio’s set pieces amplify his energy and add texture to his scenes.
Lighting by Brandon Baruch brings warmth and vibrancy to the stage with yellow and orange hues, while Lex Giana’s costume design grounds each character in authenticity. Andrew Villaescusa’s sound design is minimal but effective; the transition music shapes the world of the play without pulling focus.
Thematically, betrayal is at the core of this play. Every character is betrayed in some way, and everyone reacts differently, which feels both authentic and uncomfortable to watch. What stings most is how easily people justify their actions, even when these actions cause the deepest wounds. This play also explores love, not in a fairytale sense, but the messy human way it exists in real relationships. The message is clear: love can endure, but only if everyone is willing to truly accept it.
The audience at a recent performance was with the show the entire time, laughing at the right beats and leaning in during the heavier ones. There were a few moments that drifted for me, and the climax doesn’t fully land, but overall “The Motherf*er with the Hat” offers a compelling night of theatre, lingering in thought long after the curtain call. With only three shows left, I’d recommend catching this one.
“The Motherf*er with the Hat” continues through Aug. 31 at the Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, with performances Thursday, Friday and Saturday at 8 p.m. and Sunday at 2 p.m. For tickets and information, call the box office at 310-477-2055 or visit OdysseyTheatre.com.
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