Review: H-E-Double Crooked Letter

Review: H-E-Double Crooked Letter | Firehouse Theater Company | John Hand Theater | Denver, CO | Curtain Up! | Eric Fitzgerald

Firehouse Theater Company steps into rare and admirable territory with the world premiere of H‑E‑Double Crooked Letter, Leonard Madrid’s supernatural family comedy that first appeared at Firehouse as a staged reading in 2024. A premiere, especially a world premiere,  asks a great deal of a theatre—resources, trust, artistic risk—and just as much of its audience, who must be willing to see a brand‑new play without the safety net of familiarity. Under the thoughtful direction of Debra Gallegos and Beki Pineda, Firehouse embraces that challenge with intention, offering a production that reflects both the company’s commitment to nurturing new work and the community’s appetite for fresh stories that deserve a place on Denver’s stages.

Three cousins—Lourdes (Paola Miranda), Juandee (Kinari), and Fatima (Giselle Gonzalez)—accidentally unleash a demonic presence in their grandmother’s home, thanks to the fiery arrival of El Diablo (Paul Zamora). The three cousins come from a New Mexican Latino family, and their late grandmother becomes the steady center of the chaos, grounding the trio even as the underworld threatens to spill into her living room. As things spiral, the cousins rely on quick thinking, loyalty, and a fair amount of improvisation to set things right. What begins as a comic mistake turns into a heartfelt reminder that even Hell has nothing on a determined family. Full of surprises, the ending leaves the audience with a renewed appreciation for how far love and loyalty can carry a family.

H‑E‑Double Crooked Letter is funny and genuinely heartwarming, rooted deeply in New Mexican family culture—a foundation that gives the story its warmth, its rhythm, and its unmistakable sense of place. Even the title, a childhood euphemism for “hell,” speaks to the play’s blend of mischief, cultural shorthand, and the way families soften fear with humor. Madrid mixes supernatural chaos with family bonding and humor‑edged tenderness, creating a world where the ridiculous and the heartfelt sit comfortably side by side. It isn’t a perfect script, occasionally leaning on straightforward dialogue that feels more like broad sketch comedy than fully developed theatrical writing, but even those moments carry a certain charm. What shines through most is Madrid’s affection for these characters and the culture that shapes them, and that spirit keeps the play buoyant from start to finish.

The four actors work together with an easy sense of connection, each bringing something distinct to the stage. Paola Miranda gives Lourdes a steady, grounded presence that helps center the trio. Kinari brings a loose, playful spark to Juandee, adding welcome bursts of spontaneity. Giselle Gonzalez offers Fatima a bright, open charm that reads clearly in the intimate space. And Paul Zamora leans into the mischief of El Diablo with a sly confidence that the audience responds to. As an ensemble, they share the storytelling with a kind of collective goodwill that keeps the production moving.

L to R: Paola Miranda, Kinari and Giselle Gonzalez | Photography Credit: Soular Radiant Photography

Directors Debra Gallegos and Beki Pineda bring decades of theatrical experience to the production, and their steady hands give the play a clean, unfussy shape. The staging is streamlined and straightforward, favoring clarity over embellishment, and while it doesn’t chase big imaginative swings, it serves the story with a certain practical confidence. Both directors are well‑known for their deep involvement in the Denver theatre community, and that familiarity shows in the production’s sense of ease and organization. The result is direction that supports the play without calling attention to itself, allowing the script and performers to carry the evening.

L to R: Giselle Gonzalez and Paul Zamora| Photography Credit: Soular Radiant Photography

A special mention needs to be made of the set, which arrives without a formal scenic design credit but is clearly shaped by Jeff Jesmer, responsible for set construction, and Megan Davis (Resident Stage Manager), whose scenic painting adds welcome texture. Their combined work gives the production a handsome, living environment that supports the story without distraction. Costumes by Rachel Herring‑Luna are appropriate throughout, offering clean visual cues that help define each character. The lighting design is sprinkled with well‑placed effects that heighten the supernatural elements enough to keep the story’s otherworldly moments alive.

Presenting a world premiere is no small commitment, and Firehouse Theater Company deserves real credit for taking that leap with a new play and giving it space to grow. Much in this production is handled with care and clarity, with only a few gentle stumbles along the way—nothing that dims the company’s intention or the heart behind the effort. It’s the kind of premiere that reminds audiences why supporting new work matters, especially when it springs from a culture and community as rich as the one Madrid writes about. H‑E‑Double Crooked Letter plays through March 8 at the John Hand Theater.

For Information and tickets: https://www.firehousetheatercompany.com/