Year of the Rooster
Dallas Theater Center
I’ve been a fan of the Dallas Theater Center’s Wyly Theater ever since it first opened. I’ve seen a double handful of plays there, and enjoyed every one.
I was excited when I heard about the Center’s new initiative, the Elevator Project. This gives six local theater groups: African American Repertory Theater, Cara Mia Theatre Co., Dallas Actor’s Lab, DGDG: The Danielle Georgiou Dance Group, Second Thought Theatre and Upstart Productions – an opportunity to stage one play each in the Wyly over the next year.
These plays won’t be in the large main auditorium, but in smaller spaces on the sixth and ninth floors of the giant Borg-Cube like building. And yes, you do ride an elevator from the below-grade lobby to reach the shows.
Dallas Theater Center
I had seen one show, Red, in the ninth floor space (completely redone – you had no idea where you were – it felt like a New York artists’ studio). While it was running on the ninth floor, King Lear was going on downstairs.
The first production in the Elevator Series is done by Upstart Productions and is a work called Year of the Rooster. It is presented in the sixth-floor black box theater area – where I had never been. I wanted to go on one of the first nights, but work has been kicking my ass and I wasn’t able to get there until today, for a Sunday Matinee performance. I thought about riding my bike down there, but it was too hot (and ungodly humid) so I settled for a train ride.
I made a particular effort to not read anything about the play beforehand – to leave an element of surprise. I only knew that it involved at least one chicken.
The play was crackerjack. It was a harrowing tale of a struggling McDonald’s clerk, trying to keep his elderly mother supplied with stolen honey mustard packets without getting fired – who has only one chance at success, escape, and redemption – his fighting cock, Odysseus Rex.
The protagonist chicken is played by Joey Folsom as a spring-steel tight PED drugged bundle of avian rage and hate flashing a folding knife like it is his only hope in the world. Steph Garrett plays dual roles as an over-ambitious McDonald’s manager and as Odysseus Rex’s love interest – an overweight, cage-raised, soon-to-be-fried hen.
It’s not always a pleasant tale – full of salty language and Oklahoma doom. The fight scenes are exciting and a bit frightening in the small space of the sixth floor black box. In the end it’s an unforgettable entertainment – you can’t make an omelet without breaking a couple of eggs.
There are a few performances left – so if you are in the North Texas area, get your tickets before they are sold out.
The odd thing about a matinee performance is that you emerge from the darkness of the play into the unexpected and almost forgotten fiery light and withering heat of the late afternoon. The world is still there – though somehow always changed by the entertainment you have sat through. And that’s the mark of a good play – because of what you have seen – what you have lived through – you now see the world a little differently. You know something you didn’t before.