Inspired by the high drama of telenovelas, My Uncle Is Not Pablo Escobar follows four British‑Latinx women as they navigate a story that blends personal stakes with political urgency: Ale (Yanexi Enriquez), a sixth‑form student; her sister Cata (Lorena Andrea), an investigative journalist; Lucia (Cecilia Alfonso‑Eaton), who works undercover as a cleaner at the bank; and Honey (Nathaly Sabino). The show sets out an ambitious range of topics, weaving together personal stories with broader political and social concerns. At times, this breadth means the focus shifts quickly between several narrative threads before settling on what ultimately becomes the central storyline: exposing the multinational bank they clean at for its money‑laundering ties to international drug cartels.
The relationship between Ale and Cata presents the most vulnerable part of the show, and we watch their bond as sisters grow closer throughout. Though their arc unfolds in a fairly predictable way, it is given consistent attention and a clear sense of development. Although the piece presents itself as a story about four women, Ale and Cata sit firmly at its centre, with more focus placed on their journeys than on those of Lucia and Honey. Where Ale and Cata’s growth is shown gradually, Lucia and Honey’s backstories are delivered in a single conversation rather than unfolding over time. The acting embraces the telenovela genre with its dramatics, exaggerations and big, over‑the‑top storytelling, yet the show still finds space for tender, vulnerable moments, particularly when Ale and Cata reconcile and speak about their mother and brother.
There is much to applaud in the staging and production. The set design does an incredible job of supporting the story, shifting fluidly between sites such as Ale’s house, the bank, a nightclub and more. At times, though, the production elements feel a little overextended. Moments such as voiceovers echoing from above, or the cast stepping out of the narrative to interact with the audience in a game‑show format, add energy but can sit slightly at odds with the main storyline. While entertaining, these interruptions occasionally feel like brief detours from the central action.
The show clearly highlights the struggles faced within the Latinx community: moving to London and juggling multiple jobs, working from a young age, navigating unethical treatment at work, and confronting the stereotypes placed on Latinx women. Its cultural grounding is beautifully strong, expressed through music, references and the fluid switching between English and Portuguese, with subtitles provided on screen. These elements bring an authenticity that anchors the piece. While the story remains entertaining and engaging, it is the show’s attention to the wider issues surrounding the work environments that immigrants and people of colour often face that gives it its most resonant moments.
Review by Rim Alkaiat
Featured Image (c) Lucy Le Brocq of Kaleidoshoots
Presented by The Hale – a London-based arts producing company specialising in experimental, socially-engaged work that is not restricted by form.
Written by Elizabeth Alvarado, Valentina Andrade, TommyRoss-Williams & Lucy Wray| Co-created with Joana Nastari
7 Apr–3May Brixton House, Tues–Sat 7.30pm, Sun 5pm, Sat matinee 2.30pm, schools matinees Thurs 16 & Weds 29 2.30pm|brixtonhouse.co.uk
Running Time:1hr 30 mins (no interval)| Suitable for ages13+| Performed in English with English, Spanish and Portuguese subtitles.
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