Gloria Calderón Kellett’s latest play, ‘One of the Good Ones,’ is currently captivating audiences at The Old Globe with its unique blend of humor and heartfelt family dynamics.
The production feels akin to a live taping of a favorite sitcom, boasting rapid-fire dialogue, endearing family chaos, and the delightful kind of mishaps only possible at a dinner party—complete with a piñata.
The storyline centers around Ilana, played by Angelique Cabral, and her husband Enrique, portrayed by Benito Martinez. They are both eager and slightly anxious about hosting a dinner to meet Yoli’s boyfriend, Marcos, for the first time. Recently returned from college, Yoli remains an enigma to her parents, and both Ilana and Enrique are braced for unexpected revelations.
As preparations for dinner unfold, the audience quickly learns about the complexities of this family’s background. Ilana, who is proud of her Mexican and Puerto Rican heritage, grapples with her insecurities regarding her Spanish language skills, which she was not taught to appreciate growing up. In contrast, she made it a priority for Yoli to acquire fluency in Spanish, allowing her to connect with her father, Enrique, emphasizing both connection and occasional miscommunication.
Yoli assumes the role of a somewhat presumptuous teacher throughout the dinner, attempting to educate her parents about contemporary issues, inadvertently assuming they lack understanding. This dynamic drives many of her decisions during the evening.
When Marcos, her boyfriend, makes his entrance, the family discovers he is thoughtful, fluent in Spanish, and born in Mexico—while he also carries the unexpected label of being White. The resulting collision of cultural expectations, generational beliefs, and socially clumsy interactions elicits both laughter and discomfort from the audience.
Under the direction of Kimberly Senior, the pace of the show is brisk, and every comedic beat is expertly timed to maximize audience reaction. From the onset, the crowd’s laughter, gasps, and ‘awws’ fell precisely where they would in a TV sitcom, solidifying the storytelling’s engaging nature. Senior cleverly leverages the strong television backgrounds of Cabral and Martinez, enhancing the play’s appeal.
Angelique Cabral shines in her role as Ilana, convincingly portraying a mother who is both charmingly awkward and deeply proud of her heritage. Her character’s desire to be viewed as the ‘cool mom’ humorously derails just as things start to intensify—culminating in a particularly memorable meltdown.
Martinez brings a sharp edge to Enrique, exuding the quintessential sitcom dad vibe—bringing both humor and sternness to his attempts to connect with Marcos. He yearns for a moment of intimidation from Marcos, juxtaposed with a genuine wish to learn more about his daughter’s life, even if that means coming to terms with the social media world through which she operates.
Santino Jimenez delivers a standout comedic performance as an overly invested flower delivery person, who finds himself embroiled in the evening’s chaos.
Meanwhile, Nico Greetham’s portrayal of Marcos injects humor into the situation, providing awkwardness with a hint of emotional honesty. Although sometimes too open for the discomfort of Yoli’s parents, his quirky sense of dinner gift-giving—epitomized by the pairing of wine and a piñata—shows his support for Yoli in vivid form.
Despite the compelling performances, the character of Yoli, portrayed by Cree, is the most challenging to relate to. While Cree imbues the role with intensity, Yoli’s self-righteousness and perceived arrogance begin to shift audience sympathies, transitioning from rooting for her to challenging viewers to find common ground.
The production also benefits from Takeshi Kata’s stunning set design, which beautifully encapsulates a vibrant Pasadena living room atmosphere, illuminated perfectly under Jaymi Lee Smith’s lighting.
With an array of plot twists ensconced within the script, the play captivates the audience, constantly delivering new surprises just when the drama seems to peak. Ultimately, ‘One of the Good Ones’ succeeds in its mission: offering laughter while navigating the intricate themes of race, identity, and the expectations of family life, all executed with genuine sincerity and impeccable comedic timing.
Tickets for ‘One of the Good Ones’ are available until June 22nd at The Old Globe. For more information regarding ticketing and show times, visit www.theoldglobe.org.
image source from：https://www.broadwayworld.com/san-diego/article/Review-ONE-OF-THE-GOOD-ONES-at-The-Old-Globe-20250602
