Jessica rates it:
Some fringe shows ply their audiences with beer and popcorn, others with the promise of nudity, violence, or rock and roll, but Riding the Bull knew the only thing that could break this reviewer’s heart of cold stone: A Banjo. The two actor cast is accompanied by the show stealing Curtis Eller and his banjo. The 15 minute preshow of Eller picking out songs about Elvis, Silent Movies, and Horse were by far the best part of the show. This is not to say that Riding the Bull was not incredibly entertaining, but is rather a testament to great joy of a hearing a banjo.
Riding the Bull is the story of a god fearing rodeo clown in a small Texas town whose battles with temptation lead him to power, money, the real Elvis Presley, a holy cow, and maybe even love. The cast consists of Jason McCool as the bumbling, big headed rodeo clown Gaylord (GL) Mitchell, and Kate Debelack as Lyza, the jaded town troublemaker with a penchant for dressing up cows and putting religious statues in compromising positions. When Lyza and GL discover a novel way to find out the winners of upcoming bullfights, their fortunes change forever.
The script starts out slow, and it takes a while for McCool and Debelack to hit their strides, but all is cured once the plot starts to move forward. The comedy of the first 3/4s of the script is amusing and well executed, but it is the relationship between GL and Lyza that is the true strength of this piece. They are hilarious at the beginning, but both character are real enough that the very (surprisingly) poignant ending is not ruined. The show and its characters are so broad and campy, the intensity of the ending was shocking. However, that was the part of the production that stuck with me the most – I cried. (I am a Theater Crier, but only when the show is very good). McCool’s final monologue is moving, and Debelack manages to keep the audience on her side from beginning to bitter end despite Lyza’s many failings.
The problems of this production were overcome by the strength of its two actors, but problems did exist. In addition to the afore mentioned textual issues, the staging was confusing at times. I know it’s Fringe, people, but not every show can be done with two stools, a bale of hay and a plastic Jesus; there were many places in the show that would have been majorly enhanced by a few more set elements. I also felt that Curtis Eller and his wonderful banjo were underused. After the preshow he only occasionally punctuated what was being said with short strains of music. This was so effective, I missed it throughout the rest of the show.
See it: You’re in the mood for a lot of fun, a lot of heart, a little blasphemy, and a little banjo.
Skip it: You can’t stand the thought of seeing another Fringe show making fun of country folk
Riding the Bull 
by August Schulenburg
presented by The Riot Actors of Washington
reviewed by Jessica Pearson
Hi guys,
Thanks so much for all your coverage and for coming to see our show. May I ask, however, why RIDING THE BULL isn’t listed as an voting option for “favorite play?” I’ve had a few people ask me this and I’m not sure myself. (I realize 2-person shows don’t tend to win these things over plays with large casts anyway, but I’m not sure why we’re not even listed.)
We sold out 3 of our 4 shows – the only one that didn’t sell out was the early afternoon after our opening night – we were selected as an “Editors’ Pick” by the Washington Post, were listed as one of “4 Must-See Fringe Shows” by DCist – in fact, this DCTS (“4 out of 5”) review was the closest we came to anything resembling lukewarm press. We were all extremely happy with what we pulled off with this collaboration – a labor of love, really.
Anyway, just wondering!
Thanks again,
Jason
http://www.ridingthebulldc.com/press%20page.html
A funny, sad character comedy, acted well, paced well, AND using a banjo player. Unlike the reviewer, I had no difficulty with the minimal set pieces. The banjo during the show was subtle, and probably could have been put to better use. The performances were exceptionally good, taking a script that could leave you unmoved by the caricatures- the religious,naive dumb guy, the overweight, smart-ass woman- and making these people both believable and sympathetic. The abrupt change in tone, from comedy to tragedy, is not as jarring as one might expect, and the contrast only heightens the tension during the final moments of the show.
Fine actors Kate Debelack [title character in Studio Th’s Fat Pig] and Jason McCool [title character in Forum Th.’s The Last Days of Judas Iscariot], and director Colin Hovde earned it a spot on my A-list of shows to see. And they fulfilled the promise. Wonderfully acted & directed, this insightful, hilarious, moving ‘dramedy’ reeled us in with guffaws, then stealthily moved many to tears. At the perf. I saw, the prevailing sentiment of the audience was clearly empathy with these deeply human characters.
Curtis Eller (“NYC’s angriest yodeling banjo player!”) singing & playing his original compositions certainly adds to this DC production. In addition to his music, Curtis’ offbeat persona is uncannily appropriate for this play.
Only one more perf: Sat. 7/25 @ 6:45.
Folks,
Nothing gets people’s attention like FREE BOOZE… coupled with award winning* theater! After a sold-out opening, RIDING THE BULL will pick up again this Saturday morning @ 11am, sponsored by DC’s Austin Grill. The first 25 entrants to the Bodega will receive a coupon for a free margarita at Austin Grill. 15% off an entire bill is also offered to all ticket holders.
*RTB won the coveted “Audience Favorite Award” at the 2007 NYC Fringe Festival.
purchase tickets online at:
http://shows.capfringe.org/shows/57-Riot-Actors-of-Washington-Riding-the-Bull.html
RECENT PRESS:
“…when acting is top-notch, there is no better joy.”
“…like taking Hepburn & Tracy through the looking glass.”
“…it’s raw and vibrant theater. Two performances left. Definitely worth it.”
http://www.welovedc.com/2009/07/14/fringe-arts-riding-the-bull/
“Very funny, very good…
The Riot Actors are off to a terrific start!”
–anonymous audience member
I thought it was hilarious, pathos-filled (not pathetic) and well performed. I was fascinated by the false definition of masculinity by which the male defines himself (He’s a white, sexist pig, in 1960s parlance and has no awareness whatsoever of any faults in that definition of oneself. And he is somewhat effeminate and unable to live up to the image of masculinity he holds in his head.) That false definition of masculinity leads to him to harm himself and others and keeps him trapped in his loneliness.
Ugh. The banjo playing is what intrigued me, too. Too bad that he has little more to do with the play than the prelude. The rest of the show he just sits on the side of the stage, looking vacant.
And it’s too bad the show itself doesn’t redeem the notably silent banjo player. Dumb, Jesus lovin’ hick from Texas can’t stop masturbating until he meets the fat girl of his dreams. There were some slightly entertaining moments, but the story just doesn’t make me care about any of the characters (or Elvis, or the male lead’s mother whom we never see).
I won’t reveal the moral of the story for whoever actually wants to see this play, but suffice to say that it’s not terribly profound.
The acting was very good, but couldn’t save us from a trite script.