★★★☆☆ Teatro Chelsea at Chelsea Theatre Works. This alleged “new play” by Alejandro Rodriguez actually wrenches, uncredited, Federico García Lorca’s last and greatest work, The House of Bernarda Alba, into a Cuban expatriate home in Miami circa 2001. Lorca’s bitter widow (Elisa Guzmán-Hosta), who sacrifices everything worthwhile for the sake of maintaining the family reputation, is down to three daughters from five; the reduced brood still chafes at the maternal iron will, and there’s still a power struggle between two of the sisters for the hand of an (unseen) local Casanova. But the mood and stakes are very different. A modern environment, with AOL dial-ups available and South Beach right around the corner, offers a lot more opportunities for freedom than a provincial prewar Spanish village, so much of the conflict makes little sense. Also, a not-so-mysterious narrator (Ricardo “Ricky” Holguin) pops in periodically with pseudopoetic musings, though bringing a male presence onstage couldn’t be more at odds with the theme and intention. The tensions between the original and adaptation make tonal inconsistency just about inevitable, but when director Mariela López-Ponce hits it right, the production is quite satisfying, lit effectively by Lauren Stetson and sparked by excellent work from Guzmán-Hosta and Paola Ferrer as Alba’s maid and conscience (pictured). Through May 4; teatrochelsea.com.