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This article was prepared for the January 23, 2002 edition of U.S.
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Broadway Review: `Sexaholix’
Notwithstanding the popularity of John Leguizamo’s
previous shows — "Mambo Mouth," "Spic-O-Rama,"
and "Freak" — the latest entry in this performance
growing anthology extolling the local Latino culture,
is not only his most successful (recently extended its virtually
run), but his most intimately revealed and most personal. His
propelled by constantly gyrating hips and a pelvis that moves in
it hasn’t been designed for, Leguizamo spins, twists and contorts
his elastic body through more variations on one single theme than
Mozart ever thought of. There is something to be said for letting
it all hang out in a cascade of words and movements and a few tracks
of very loud music. At least, one’s eyes are as busy following this
dizzying haze of trimness in black leather pants and a sleeveless
shirt as one’s ears are glued to his scatological biographical tale.
While it won’t come as any surprise to learn that growing up Latino
has its virtues – "music and dance" — and its pitfalls
— growing up in Queens (?) – the crux of the ever horny
turbulent testimony is his on-going pursuit to find true love by
This aggressively neurotic and episodic odyssey begins with his
as a member of a sex-obsessed street gang and as a victim of a
and poor family. He takes aim once again (as he has previously) at
his long-standing estrangement (that he claims is now healed) with
his abusive father. It continues with anecdotes that detail with more
detail than you might care to hear about various pickups and steamy,
sometimes funny, affairs. It ends happily with a long-term
with a nice Jewish girl (so what else is new?) and a baby to prove
Not wanting any female to be left out, Leguizamo leaps from the stage
to engage a willing female in a torrid Salsa in the aisle. Much of
Leguizamo’s bawdy babble is drenched in street jargon that may go
over the heads of some. But as he says, "If you don’t understand
something, ask the person next to you."
Leguizamo appears to be in charge of everything he says and does on
stage. So I’m not sure exactly what it is that director Peter Askin
should be credited with. What Askin, who directed both "Mambo
Mouth" and "Spic-O-Rama," needed to do was eliminate the
intermission and help shorten a text that eventually becomes
For all Leguizamo’s undeniable ability to activate his dynamic libido,
there comes a point when giving power to a cultural identity mostly
through 10-letter expletives ceases to amuse or enlighten. The result
is that one leaves the theater aching for a stiff dose of Masterpiece
Theater. Two stars. Maybe you should have stayed
— Simon Saltzman
Tele-Charge at 800-432-7250 or 212-239-6200. $30 to $70. Through
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