MEET THE CAST
Gil is a loser. He works at McDonalds, lives with his ailing mother, and hasn't had a girlfriend since...ever. But that's all about to change. He's been secretly training (and drugging) a rooster to fight. And Odysseus Rex aka "Odie" is the baddest barnyard bird there is. Gil has so much faith in Odie's abilities that he bets everything on him -- but victory and revenge may not yield the delicious spoils he anticipates. A fiercely comic play about cockfighting, connections, and clawing your way to the top.
"Year of the Rooster” at the Ensemble Studio Theater isn’t merely entertaining. It’s astonishingly entertaining, partly because the playwright, Eric Dufault, is only in his mid-20s and partly because who would have thought that a barnyard bird could make such an intriguing stage character? Plot description doesn't really do justice to this play's dazzling comic fury, it's a good thing there's an intermission, because the audience needs time to recover" - The New York Times
"...a funny, fierce work and you leave eager to see the playwright's next one. - Huffington Post
"If you are anywhere in range of this play, you’re lucky: you can see Year Of The Rooster. Don't miss the chance." - Let's Talk Off Broadway
"...a blast of adrenaline..." - Stage Voices
"Year of the Rooster manages to create a sizable journey in a short amount of time. It’s a play that’s weird and not weird, violent and poetic, entertaining and deeply felt. It’s just about what you’d expect for a play that makes you fall in love with the soul of a rooster." - TheaterDogs
"...goes for the jugular..."Rooster" is bloody, profane, violent and often downright cruel, far more bitter than sweet. But if it doesn't make you feel the uncomprehending anguish of the battlecock, it can only be because you have no heart for him to tear out with his razor claws." - San Jose Mercury News
"This is trailer park tragedy meets punk rock opera. It’s all the destruction of NASCAR crashes without the safety of the cars.” - Theater Jones
Eric Dufault won Marin Theatre's 2013 David Calicchio Emerging American Playwright Prize for his play The Year of the Rooster. The winners were selected from nearly 700 eligible submissions.
"...it is hard to encompass the collective reaction of the entire artistic staff here at Marin when we read Eric Dufault's The Year of the Rooster, except to say that never had we experienced a play that jumped off the page with action, humor and humanity as what this unique young playwright was able to accomplish in his story of a frenzied, crowing, champion cockfighting rooster."
The David Calicchio Emerging American Playwright Prize honors David Calicchio's lifelong career as a playwright and supports MTC's commitment to the discovery and development of new and emerging American Playwrights. MTC awards the Calicchio Prize annually to a professionally unproduced playwright for a new work that shows outstanding promise and a distinctive new voice for the American theatre. The winning playwright receives a $2,500 award. Their submitted play receives a developmental workshop and a staged reading as part of MTC's New Works Series.
In Year of the Rooster, Dufault's astonishingly entertaining play about cockfighting, Gil, a McDonald's-employed schlub who lives with his mother, has happened upon his ticket to fame and fortune in the form of Odysseus Rex, a champion-caliber rooster he is training to fight against a legendary undefeated foe.
Eric Dufault is a graduate of Sarah Lawrence College. His plays include Year of the Rooster (New York Time's Critics' Pick), The Tomb of King Tot, American Girls and The Desert Play. His plays have been performed at the Ensemble Studio Theatre/Youngblood as part of their 34th Annual Marathon of One Act Plays and Mainstage series. Additionally, his work has been performed at the Flea Theatre, the 52nd Street Project, the Magnet Theatre, the Theater for the New City, the Lark Play Development Center, and the Great Plains Theatre Conference. He is the recipient of a 2013 Sloan Commission, the 2010 Lipkin Playwriting Award, and the 2008, 2009, and 2010 Harle Adair Damann Playwriting Award. His play Something Fine will be published in the Best Ten-Minute Plays of 2014 anthology. He is a member of the Obie award-winning Youngblood Playwriting Group.
An Interview with Eric Dufault, writer of Year of the Rooster - From Ensemble Studio Theatre's production - by Kristin Ciccone:
After I had read the script, and before I actually met Eric, I envisioned Eric as a wisened, hard man with maybe half a dozen birds in his apartment. Imagine my surprise when a bespectacled young man in plaid sat before me. I had to know more about this emerging young artist, and now so can you.
Kristin Ciccone: When did you start playwrighting? Was there a moment you knew you wanted to be a playwright?
Eric Dufault: I probably started writing because I was anxious and sad and it made me happy. I went to an alternative charter school situated on an army base. We were given a terrifying amount of freedom. But I probably owe the school a huge amount of credit for all the habits I have formed.
In my senior year, students were given an hour or so every day to complete a project of their own choosing. I wrote and produced a play. It was called One-Headed Boy and directed by my first-ever-girlfriend, and my fanaticism towards the play totally destroyed our relationship. I remember shouting “Don’t walk away from me!!” to her in the school parking lot at one in the morning as she gave me the finger.
Not writing plays would be so, so unhealthy for me.
Have you ever seen a cockfight?
When I was teaching algebra in Washington Heights, one of my ninth grade students offered to take me to a cockfight in the basement of an apartment building. I refused, thinking that if the administration found out, I would get fired, which I definitely would have. But I probably still should have taken him up on the offer, right? Probably. Guys, make sure to make the most of all the illegal opportunities suggested to you by minors.
What made you choose cockfighting as the subject of a show?
I read a book by Hal Herzog called Some We Love, Some We Hate, Some We Eat, which features a chapter on cockfighting and McDonald’s, and realized almost immediately that it was always meant to be a play. It was when the cockers talked about how much they loved the birds. That was when I knew. I really believe talking animals work better in theater than in any other medium. Sorry Babe, Pig in the City.
I don’t know. I also like loud, angry things, even though I am neither loud nor angry.
If you had a Rooster what would you name him?
Describe YEAR OF THE ROOSTER in five Hashtags.
I feel kind of uncomfortable using hashtags. Like, I’m not sure exactly how to employ them correctly. I’m sort of sixty years-old inside. But here goes:
#pitem #billemup #winnerwinnerwinner #fortheloveofgodseethisfuckingshow #picturesofcats
Did I do that right? You know what, don’t tell me.
You, mostly, did do that right.
What's your favorite food?
I was going to cheekily say chicken, because I feel obligated to. But my dad bakes bread like you would not believe.
The play has grown into something so rich since the workshop, what was the focus of your rewrites in the past year?
I’m going to say 15% of Act One is totally different, and about 50% of Act Two. Maybe more? I should maybe try to calculate it. I was just trying to focus on telling a better, richer story. A lot of that came down to some of the basics of playwriting that are all too often ignored by myself amongst others: clarifying character’s arcs, creating dramatic tension, etc.
Was there anything you cut that you wish could still be included in this draft?
I’m weirdly all for killing my darlings. If it was up to me, the whole play would just be a big graveyard of my favorite moments. I have a great and terrible habit of coming up with a thousand different ideas for what the play could be, and I could easily envision a dozen different alternative Year of the Roosters occurring on parallel world as we speak.
Some of the scenes/elements I wrote/thought about that are not included in the production are, a scene involving an anthropomorphic version of the Sun, and a Greek Chorus. Possibly made of chickens? Or McNuggets?
It’s probably for the best these things don’t exist. But we do get the Legend of Cassidy Coltrane provided in the program!