Wearing jewel-colored garments and headpieces, and harking back to iconic Mexican imagery, the skeletons sing, dance and remark as Don Quixote strives to conquer evil, discover a misplaced love and stay his kinfolk from shifting him to the Fountainbleu Assisted Dwelling Middle.

Bracing of their theatricality, but meaningfully reflecting on Quixote’s betwixt-ness, the skeletons, a.okay.a. calacas, are a number of the pleasures of director Lisa Portes’s colourful and humorous manufacturing. Caveats: Octavio Solis’s 2018 play has a tendency towards sprawling looseness, as certainly does its inspiration, Cervantes’s Seventeenth-century masterpiece “Don Quixote.” And Solis metes out backstory and Cervantes echoes with a readability that infrequently feels too planned (even though the contact is lighter than in his “Mom Street”). Nonetheless, audiences up for 2½ hours on the theater will relish the terrific appearing through the all-Latino forged, in addition to the ample Tejano tune and Helen Huang’s supreme costumes and puppets.

The forged’s expressiveness, by the way, is helping be sure that the considerable scatterings of Spanish can be transparent to those that don’t talk the language. Additionally including accessibility: a filmed model to be had on-line beginning Thursday.

Milagros Ponce de León’s set, a dusty undeniable with weatherworn constructions, conjures up each Cervantes-era Spain and fresh Texas. Professor Jose Quijano (Herbert Siguenza) treks thru this doubled milieu after his sister (Isabel Quintero) hatches the Fountainbleu plan. Touring as Don Quixote, along with his steed, Rocinante — in fact a tricycle and horse cranium — he cajoles ice-pop dealer Manny Diaz (Ernie González Jr.) to be his Sancho Panza. However the eerie Papa Calaca (Raúl Cardona) hovers within reach, an indication now not simplest of Quixote’s mortality but in addition of migrant deaths and different tragedies on the border. Progressively, the topics of immigration, literature, concern and loss refract and converge.

First glimpsed in a bathrobe, waving a rapier, Siguenza’s Quixote is humorous but vastly poignant; the haunted stoicism in his eyes, at one level, is heart-rending. Additionally marvelous is González, whose comedian timing makes the down-to-earth Manny hilarious, even if the play is most glaringly milking incongruity. “I’ll be as immortal as Orlando and Gawain!” Quixote broadcasts, referencing chivalric heroes. “Had been they those who got here up with the Macarena?” Manny asks suspiciously.

Different effective turns come with Peter Pasco as a canny bartender and Adelina Mitchell as the landlord of that run-down bar, Rosario’s Front room and Karaoke.

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Cardona’s Papa Calaca, macho and sinister but making a song and bantering, is the person who directs Quixote to Rosario’s, the place Pancho Villa’s pickled cause finger is saved in a jar. Like such a lot of “Quixote Nuevo,” Loss of life here’s a severe power with a pleasingly playful aspect.

Quixote Nuevo, through Octavio Solis. Directed through Lisa Portes; tune director, Jesse Sanchez; lights design, Alberto Segarra; composer and sound fashion designer, David Molina; combat choreography, Casey Kaleba; assistant director, Dylan Arredondo. With Jyline Carranza, Sarita Ocón and Lawrence Redmond. Two-and-a-half hours. $55-$78 (in-person); $32.50 (on-line, beginning Sept. 23). Thru Oct. 3 at Spherical Space Theatre, 4545 East-West Hwy., Bethesda. roundhousetheatre.org.