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    The Arthropologist

    Horse Head Theatre Co. comes out of hibernation with a dark comedy, Your FamilySucks

    Nancy Wozny
    Dec 15, 2012 | 6:00 pm
    • Melanie Martin, Greg Dean, Caroline Menefee and Reagan Elizabeth star in HorseHead Theatre Company's production of Your Family Sucks
      Photo by Darci McFerran
    • Dean plays Joseph Taubin, a dad with a drinking problem, in Your Family Sucks.
      Photo courtesy of Horse Head Theatre Company
    • Amy Burn and Troy Schulze in the Horse Head Theatre Company production of AdamRapp's Red Light Winter
      Photo by Anthony Rathbun

    Horse Head Theatre Co. rises from the dead — or a long sleep — with its production of Abby Koenig's Your Family Sucks, which runs from Dec. 6 to 22 at War'Hous Visual Studios.

    Koenig's dark comedy ends a near two-year quiet spell for the theater company, who we hadn't heard a peep from since they canceled their production of Juarez, based on Terry Allen's concept album, last summer.

    Like most Horse Head events, this new production is anything but theater as usual. Koenig's play takes place within a game show, and the audience, which rarely sits on their butts in a passive stupor during a performance, plays the contestants. "It's going to be a grand mess," laughs Koenig, in thinking about her chaotic, wild ride of a play.

    A Brief History of Horse Head-ology

    The storied troupe had "it" theater company status for a while before going into hibernation. Mostly a boys club of designers, Horse Head charged out of the gate in 2009 with a robust production of Adam Rapp's Red Light Winter at Frenetic Theater, which was temporarily transformed into the red light district of Amsterdam. The production went down in Houston theater history as one of the most solid launches of a new troupe ever. People (myself included) are still talking about Drake Simpson and Troy Schulze's performances in Rapp's brutal drama.

    The storied troupe had "it" theater company status for a while before going into hibernation.

    Fault Lines, a play about a bunch of guys hanging out in a bar, took place in a bar, as the Brewery Tap became a makeshift theater. Even more "out there" was Among the Thugs, which went down in the Magnolia Ballroom's dank and dingy basement club, the Kryptonite.

    Their last but least successful play, Essential Self Defense, returned to Frenetic and included a karaoke bar. Then, they set out to turn the iconic Allen album into an epic show. After a successful Kickstarter campaign, they had to put it off because the band got a better gig. Juarez is slated for the summer with a newly-formed band created especially for this play.

    The collective took a devastating loss in the tragic death of Jeremy Choate, the lighting designer who collaborated on most of the projects. Founding members Anthony Contello and K.C. Scharnberg left the city. Holden became a father, and now has a full-time job building a theater department at San Jacinto Community College. It was a difficult year for Horse Head.

    The Koenig Connect

    Koenig got to know the troupe when she helped with the writing of Juarez. When the project got postponed, Holden asked her, "Got any other scripts?" She did, he read it and Horse Head was back in biz.

    "We loved Abby's play," says Holden. "And we thought we could turn it into something Horse Head-y. The concept of a dysfunctional family inside a game show is just the kind of immersive atmosphere we like."

    The tag line for the piece is "a play about a family just like yours."

    The tag line for the piece is "a play about a family just like yours." Meet the Taubins: Dad's got a drinking problem, mom's got a shopping problem, big sis is sexually confused and little sis needs a reality check — her imaginary friend, a Hebrew pop star, makes her bulimic. Yes, just another day in any of our homes.

    Is this play based on Koenig's family? "A little bit. But it's more based on my perception of my family," she admits. "Everyone has memories about their eccentric family as a train wreck, and they all kind of suck."

    Your Family Sucks is a departure for Horse Head in many ways. It's their first original script, their first comedy and their first play written by a woman. That's a lot of firsts, but Holden is up for it.

    "It's unlike anything else we have done," he says. "It's not so serious, other than a touch of bulimia, that's it."

    Although Koenig has had short pieces in local festivals, this is her first fully produced play. She feels the full weight of this career milestone.

    "This play I wrote is big and weird and fantastical at times, the Beatles even show up. I was just dying for Horse Head to put their spin on it," she says. "Even after they said they wanted to do it, and we auditioned actors, and looked for spaces, I still didn't quite believe they were going to do it because it was just too exciting. It's been like a dream come true to have my play come to life by some of the most talented and creative theater professionals working in Houston."

    For Holden, it's not only great to be back, but to present a play that's kind of sort of perfect for the holidays. Chances are, your family doesn't suck near as much as this one does.

    "Bring your family, you will have a good time," he says. "It's going to be a big party."

    unspecified
    news/entertainment

    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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