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Critics Can’t Crow Enough About YEAR OF THE ROOSTER

4 September 2015

 

“A gritty, hilarious, and satisfying black comedy, doused from beak to talon in talent and testosterone.” 

– Austin Chronicle

Liebrecht is the rooster, the fighting cock Odysseus Rex, nicknamed ‘Odie’ by his adoring owner. And this is a performance not to be missed…Liebrecht incarnates the bird with ferocious sinewy movement and staccato speech. A triumph of imagination meets a kinetic fury of physical prowess and precisely defined characterization. Rare it is to see an animal so vividly portrayed, particularly onstage. Forget Wilbur ‘Some Pig’ of Charlotte’s Web or Sylvia the frisky canine interloper of A.R. Gurney’s comedy of that name. Liebrecht’s Odi makes the entire crew of Orwell’s Animal Farm look like a bunch of sissies.”

– Central Texas Live Theatre


-Austin Theatre Examiner

 

“The sharp performances given by this five person ensemble gleam, and supported by terrific tech, they make YEAR OF THE ROOSTER a theatrical event you don’t want to miss!

–  – Austin Broadway World

  
An explosively funny play…Capital T Theatre’s “Year of the Rooster” something to crow about
 

– Austin American Statesman

“Pickell’s directing and the vigor of this cast make Year of the Rooster as intense as the cockfights that it evokes.”

– Central Texas Live Theatre

 

“The set itself (also designed by Pickell, and gorgeously lit by Patrick Anthony) is a marvel, massively looming within such a small space and bringing the audience right into what feels like an old barn. Of special note, too, is Lowell Bartholmee’s exquisite sound design, which creates a mood and a tone that keeps the audience immersed in the world of the show”

-Austin American-Statesman

 “Julia Bauer’s Philipa is a potent morsel of pure spunk, a compact package bursting at the seams with sass and attitude. The moment she bursts on to the scene in the first act, she becomes a shining point of every scene she’s in. Her repartee with Jason Newman is delightful, her brash, aggressive attitude scraping against his antisocial standoffishness to create sparkling moments of bizarre chemistry. Bauer never plays it one note, however, injecting authentic pathos into the later stages of the production.”

– Austin Theatre Examiner

 

“Ken Bradley’s charisma-oozing performance, is a constant threat behind a charming smile – with a bit of switchblade-packing snake oil salesman to boot”

– The Austin Chronicle