In “Bad Hombres,” playing at San Francisco’s Theatre Rhinoceros through Oct. 30, sole actor Rudy Guerrero plays seven characters that comically skewer stereotypes of queer Latinos. On this week’s Out in the Bay, Guerrero serves up slices of four of those characters, and he and director River Bermudez Sanders share observations on Latinx representation in theatre, film and television.

Sanders says the characters, as penned by playwright Guillermo Reyes, are “so absurd and so, like, so out of pocket  … that it almost lets us reclaim those narratives, lets us take things a little bit less seriously even when [dealing with] really serious issues.”

“Drag Performer,” for example, romanticizes deportation. She met border agent “Mr. Reynolds” when she first tried to enter the U.S. “during the second Bush era,” when she was “practically a child.”

He was “the toughest-looking honcho gringo in the Southwest, a quarterback in border patrol uniform. He took me into his arms and then put me on a bus back to Mexico,” she says, voiced by actor Guerrero. “But what was I to do? Guatemala had revoked my citizenship. As a kid, I was much too fabulous already for Guatemala. The local women used to consult me about color coordination.

“When I met Mr. Reynolds, I realized forced removal can be erotic,” she continues. “The attraction was mutual, so I kept coming. You know, the same spot, same rock, same treatment, the same arms to transport me back to Mexico. Oh, I was in love!”

Meet three other comically tragic characters portrayed by Guerrero – Catholic Boy being banged by a “cholo,” Wrestler Dad with “client” on the side, and serial dater Ulysses Maximilian Lopez — on this week’s Out in the Bay.

To experience them in full and meet the other three — Chapel Guy, College Student and SF gay-bashing victim Jordy — you’ll have to go see “Bad Hombres,” the opening show of Theatre Rhinoceros’ 46th season. Tickets and more info at Theatre Rhinoceros’ website,

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Graphic: Rudy Guerrero plays seven characters in “Bad Hombres.” Collage photo by Lawrence Dillon from production stills by Vince Thomas. Audio editing this week by Christopher Beale.

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