Letting loose in Latine Theaters’ comedy Last of the Red Hot Robots, From left, Susanna Ninomiya, Quinn Colon, Brian Shaer Fran Pablo in The Wrong Stuff (Photos by Alex Gonzalez)
By Mariah Reed
Latiné Theater Lab, a fresh addition to South Florida’s theater scene, seems to have found its niche in multi-sensory, immersive storytelling. Their inaugural production, Mud by María Irene Fornés, plunged audiences into a rural Cuban landscape, evoking a visceral sense of desperation and confinement. The use of strobe lighting and jarring soundscapes underscored the chaos and messiness of human existence—an approach both striking and emotionally engaging.
Now, with their second offering, the world premiere of Brian Harris’s Last of the Red Hot Robots, Latiné Theater Lab doubles down on their signature style. Billed once again as an immersive, multi-sensory experience, the production bombards the senses with flashing lights, blaring sound effects, and kaleidoscopic visuals.
This time, the aim is comedy—though the sensory overload occasionally feels random and distracting rather than supportive of the action. Director Alex Gonzalez describes the piece as a “glittering explosion of sci-fi camp and burlesque,” and thankfully, the bold costumes, vivid scenery, and over-the-top acting styles more than deliver that genre without needing quite so much technological fanfare.
The production is made up of four interlocking short plays, each offering its own twist on a retro-futuristic world full of absurdity, satire, and surreal humor. These pieces are loosely connected by themes of lust, loneliness, and the absurdity of modern (and future) life, with recurring motifs and characters that cleverly tie the narratives together.
True to form, the camp factor is sky-high. Characters strut and posture, faces contort in exaggerated expressions, and voices soar in dramatic outbursts. These aren’t subtle performances—but that’s not the point. The pleasure lies in watching a versatile, youthful cast—many fresh out of college—lean fully into the absurdity and satire of these four wildly different yet thematically linked plays.
Ryan Townsend
Sex and seduction drive much of the action, as a parade of quirky characters navigate wild sci-fi scenarios. While the comedy doesn’t dive too deep thematically, there’s a nostalgic charm in its parody of 1950s science fiction classics. Each vignette offers an unexpected twist, riffing on topics like marital dissatisfaction, fame-hungry influencers, and the everyday struggles of interstellar travel when you’re a lowly earthling. And yes—there’s even a moment when ants are hilariously posited as Earth’s dominant species, thanks to sheer numbers.
Not every joke lands, but the enthusiasm of the cast more than makes up for it. The humor is light, silly, and unashamedly fluffy—like the theatrical equivalent of a marshmallow sandwich. But sometimes, that’s exactly what you need: a break from the weight of the world and a chance to laugh at something ridiculous and fun.
Wendy Chamorro is a standout, playing both a sultry alien and a disenchanted housewife who finds unexpected romance with her domestic robot. Her physical and vocal agility brings clarity and comic edge to every role, always committed, never cloying.
Samuel Krogh also impresses, grounding his larger-than-life characters with just enough naturalism to make the humor sing. Ryan Townsend’s turn as the titular “red hot robot” is a comedic triumph—his mastery of physical comedy is all the more impressive given his many-layered, seemingly cumbersome costume.
Rounding out the cast, Brian Shaer, Quinn Colon, and Susanna Ninomiya bring high energy and fearless choices, perfectly complementing the show’s zany tone and offbeat humor.
Director Alex Gonzalez steers the chaos with a confident hand. Characters are crisply defined from their first entrance, and the stage bursts with purposeful movement and comic invention. Every design element—from the glitter-drenched, sci-fi-meets-drag-queen costumes to the modular, gadget-laden set—works in harmony to create a consistent, joyously absurd world.
A quick note for audiences: this production includes strobe lighting, choreographed moments of seduction, strong language, and stylized violence. Gender stereotypes are used deliberately for comic effect, and the tone remains firmly tongue-in-cheek.
If you’re in the mood for glitter, giggles, and gloriously weird theater, this is the escape you’ve been waiting for.
Last of the Red Hot Robots from Latiné Theater Lab is playing through Sept. 27 at Empire Stage (1140 North Flagler Drive, Fort Lauderdale). Showtimes are Thursdays and Fridays at 8 p.m., Saturdays at 3 and 7 p.m., and Sundays at 3 p.m. Tickets are $15–$35 at LTLRobots.eventbrite.com, with free parking available.
Mariah Reed is an Equity actress, produced playwright and tenured theatre professor.\
Wendy Chamorro and Samuel Krogh
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