If Hamlet were a professional wrestler, the setup to his story might look something like that of “Two Out of Three Falls,” now running at the Factory Theater. In this play by Bill Daniel, protagonist Johanna Goodish (Brittany Ellis), a Texan millennial who scrapes out a living in the ring, sees recurring apparitions of her father, Amos Goodish or “King Kong Bruiser” (Eric Frederickson), a wrestling celebrity who died in a stabbing after a match in Puerto Rico when Johanna was a child. Driven to dangerous distraction by these visions, she vows to avenge his death by killing his alleged murderer.
The Shakespearean parallels end with the premise of filial revenge, though, and cheap thrills overshadow what otherwise could be a deeper exploration of generational cycles of violence. Directed by Ashley Yates, this production leans into the heightened theatricality and rough physicality of the wrestling world, an approach that obviously engaged the audience on opening night. Unfortunately, the play’s wrestling-inspired elements also include one-dimensional characters, a simplistic plot and a prescriptive outcome. The show struggles with tonal consistency, too, awkwardly straddling the genres of revenge epic, dark comedy and domestic drama.
In Factory’s small black-box venue on Howard Street, a realistic boxing ring dominates Manuel Ortiz’s set design, and fight choreographer Kate Lass and wrestling consultant Axel Rico put the actors through their paces in several intense sequences. Many of my fellow viewers enthusiastically embraced the role of wrestling fans and behaved as if at a WWE match, audibly pumping up the hero and booing her opponents. Most of the characters who populate Johanna’s world seem larger than life to the point of being caricatures, from the 1980s-glam style and bimbo persona of fellow female wrestler Gilda Saxton (Holly Cerney) to the prominently displayed chest hair and sleazy vibes of promoter Jackie Cartwright Jr. (Ron Quade).
As for Johanna, her character arc is frustratingly shallow. We learn that she barely knew her father yet feels unable to escape his legacy; beyond that, her past largely remains an enigma. She apparently has a complicated history with Meg Bishop (Sania Faith), a lifelong friend with whom she’s recently reconnected, but their relationship feels like an afterthought in the play. When Cartwright offers her a huge payout to fight one match against Eduardo Quinones (Sam Ramirez), the Puerto Rican wrestler she believes killed her father, Johanna seems to be swept along by the tides of fate with little agency of her own.
According to the playwright’s note, Johanna is completely fictional, but Amos is based on Frank Donald Goodish, nicknamed “Bruiser Brody,” who was stabbed to death in 1988 by Puerto Rican wrestler José González. Ramirez’s character, known in the ring as “El Moreton,” stands in for the real-life González, who was acquitted by a jury after claiming he acted in self-defense.
Costumed by Anna Rogers, Amos (in flashback and ghostly appearances) wears a shag vest over his bare torso while a bandanna attempts to rein in his wild curls; the combined effect is Hulk Hogan meets the 1973 film version of “Jesus Christ Superstar.” Quinones opts for a sleeker, simpler look, donning a lucha libre mask as a younger man but facing Johanna unmasked in their highly publicized, pay-per-view showdown. Sadly, we never see the real people behind either of these showmen. It’s especially disappointing that Quinones, the only Latino character in the play, has less depth than a “Rocky” villain.
Two supporting performances — Faith as Meg and Jamaque Newberry as Olympus Montez, a retired wrestler who trains Johanna for her match with Quinones — provide glimpses of more well-rounded characters, but the actors are working with limited material here. The play would benefit from further development of their respective relationships with Johanna.
I did appreciate several details from the production team, such as the pockmarked concrete flooring in Ortiz’s set, which evokes a worn-down gymnasium. Also, Johanna receives a pretty cool glow-up in the finale, with dramatic make-up and a costume that differentiates this monumental match from her earlier, less prestigious performances.
Ultimately, wrestling fans may enjoy elements of this production, which draws so much from that medium’s tone and style, but theatergoers in search of a compelling plot or rich character development should look elsewhere.
Emily McClanathan is a freelance critic.
Review: “Two Out of Three Falls” (1.5 stars)
When: Through July 18
Where: The Factory Theater, 1623 W. Howard St.
Running time: 2 hours, 10 minutes
Tickets: $30 at thefactorytheater.com
