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    The Arthropologist

    Babe power breaks into Horse Head's fight club with karaoke theater anddisappearing kids

    Nancy Wozny
    May 12, 2011 | 1:16 pm
    • Horse Head founding member Bree Welch as Sadie Day in "Essential Self-Defense"
      Photo by Anthony Rathbun
    • Sadie Day (Bree Welch) beating up on Yul Carrol (Troy Schulze) in herself-defense class in Horse Head's "Essential Self-Defense."
      Photo by Anthony Rathbun
    • Bree Welch as Sadie Day in Yul’s apartment looking fearful as she reaches forone of his fascinating reads in "Essential Self-Defense."
      Photo by Anthony Rathbun
    • Bree Welch as Sadie Day rocks out with a song at “Original Karaoke Night” at herand her friends’ favorite local bar in the town of Bloggs in "EssentialSelf-Defense."
      Photo by Anthony Rathbun

    I like to give Kevin Holden a hard time about the boys club nature of his outfit, Horse Head Theatre Co. The intense artistic director makes no apologies. He's drawn to certain types of plays, aggressive, physical and male-driven, which make good vehicles for the troupe's ace actor Drake Simpson.

    Well finally, Horse Head brings in the babe power, with the return of Bree Welch in Adam Rapp's Essential Self Defense, running Thursday through May 28 at Frenectic Theater.

    Welch, who was in on the beginning of this extraordinary collective, plays as Sadie Day, the slightly daffy woman anchoring Rapp's tribe of off beat characters. Two years ago, Rapp's Red Light Winter launched Horse Head. Tables are turned now with Simpson directing instead of acting, and Welch back in Houston, even if temporarily.

    Welch left Houston to pursue an MFA at Old Globe/University of San Diego Theater Program. Who could blame her, it's one of the best classical theater programs in the country. She has never been able to even see a Horse Head play.

    Essential Self Defense centers around fear and its ability to erode just about every human action. Rapp's characters gather at a karate gym and a karaoke bar, exist on the margins of society. Suspicions of terrorism, the strange disappearance of a group of middle school students, and a bizarre friendship all surface, none of which is ever fully resolved.

    "Rapp questions social norms, the things we take for granted," Welch says. "Yet, he leaves the questions open ended for the audience to ponder."

    Holden and Welch go way back; he was her theater teacher at Deer Park High School.

    "We did an insanely intense version of The Rope Dancer for the one-act play competition one year," she remembers.

    Their paths crossed again while she was at the University of Houston finishing her degree in theater just as Holden wrapped up his MFA there. When Holden began gathering the Horse Head tribe for their Monday evening meetings to revolutionize theater, Welch came onboard.

    "I believe in Kevin's mission to change theater. Progress is evident in every other art form, but theater seems to remain the same," she says. "It's too easy to do cookie cutter theater."

    Welch came to prominence on Houston's stages with her performance in One Spare Flea at Mildred's Umbrella and Rabbit Hole at Stages Repertory Theatre. She couldn't have asked for a better fit with Sadie, a curious character who finds herself entangled in one sticky situation.

    "I fell in love with Sadie," Welch says. "She is a naive 30-year old character. I'm 30 and short, with childlike energy, so I connected to her. Yet, she is clever and intelligent too. But in the end, doesn't know enough about the world around her."

    Like all of Horse Head events, expect to be in the middle of the drama. The Frenetic Theater will be transformed into a karaoke bar. Audience members will be free to test out their pipes before and after the show. Holden's concept requires theater goers immerse themselves in the environment of the play.

    Founded by designers, the collective places an enormous emphasis on light, sound and the set up of the performing space. The experience of the audience is considered the moment they open the door.

    "We are performing in the round," Welch adds. "It's the most Horse Head appropriate play we have ever done."

    For Welch, performing in Essential Self Defense offers the opportunity to truly connect to a movement she helped to move forward.

    "It's great to work with artists in creating something unique, adventurous, and memorable on stage," she says. "I want to be surrounded by artists who have the same vision and are working towards it together. We all usually have Robert Edmond Jones' quote in the back of our minds, 'To create a theater that to this point only exists in dreams.' Some of members even have it tattooed."

    Welch doesn't mind the testosterone-fueled vibe of Horse Head at all.

    "They're a group of boys and they do boy things, like hit each other," Welch admits with a generous grin. "Given their history, I don't expect they will be doing The Vagina Monologues anytime soon."

    Sadie and Yul at the Beat Down Self Defense Studio

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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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