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If man's wretched existence ever needed a finer hand to paint comic despair, look no further than director Jason Nodler with his quartet of superlative interpreters all in the service of the apocalyptic vision from Samuel Beckett.

Catastrophic Theatre delivers the goods and creates a miniature pendant that gleams with tantalizing brilliance.

This bare bones outline doesn't begin to hint at the play's--and the production's--riches. Maher has written most of it in metered, rhyming verse, some of which sounds truly Shakespearean. But, lest ye tremble, he's also made it great fun. ... I laughed, gasped, and scratched my head. A great night of theater.

The talented Tamarie Cooper opens the latest in a series of musical extravaganzas - this one rife with patriotism - to enchant a horde of loyal followers and to introduce newcomers to a remarkable talent: a Renaissance woman who conceives, directs, choreographs and acts, and does all these well. She brings with her a cast of polished performers who bring her vision to exciting life. 

As a writer, Tamarie is original and inventive. As a choreographer, she is indefatigable. And as a performer, she is an accomplished professional. She acts her part as mistress of ceremonies with an unflagging, engaging poise and depth.

The joy shared by performers who love their craft and have the talent to prove it spreads to and engulfs the audience. The result is a riotous evening of fun and laughter, one likely to be savored and remembered. Don't miss it.

Catastrophic Theatre's magnificent world-premiere production of Bluefinger: The Fall and Rise of Herman Brood, written and directed by Jason Nodler, and featuring a blistering performance by Matt Kelly in the title role, could easily be the next smash hit on Broadway. Bluefinger is a once-in-a-lifetime, invigorating magical mystery tour of rock's most quintessential wild man. Catastrophic Theatre has outdone itself.

Brood's life is told as a series of comic moments and over-the-top performances that add up to an ending so genuinely moving - devastating, even - that it's impossible to see coming, never mind that it's been foreshadowed from the very beginning of the play.

Civilization is a ruse. Down in our guts, we're all just bloodthirsty animals. That's the truth devouring audiences of Catastrophic Theatre's remount of Peter Sinn Nachtrieb's hilariously gory Hunter Gatherers ... The ridiculous trappings of civilization are put away to make room for the primal desires that keep humans connected to their animal hearts — sex, violence, domination, the urge to procreate ... Through all this is director Jason Nodler's marvelous grasp of every comedic possibility in this script ... The show is good and nasty fun.

[The Designated Mourner] pierces the darkness of the human experience, asking us to weigh the precious pretensions of art against the brutality of a world without people who care about such seemingly useless subjects. ... Directed with heart-crushing grace and beautifully acted by this smart cast - Dean gives the performance of his career here - the troubling play puts forth a bleak worldview that doesn't seem all that far-fetched.

Once again the original thinkers at Catastrophic Theatre are proving themselves to be the masters of all things strange, disquieting and ultimately mesmerizing ... The story follows a small group of revelers through a night of highballs and honest conversation unlike any you've ever heard, unless you've been to hell and back. Dolled up in suits, silk and shiny shoes, these four men and three women drift about the small party clinking their ice cubes against crystal while engaging in what should be small talk, but in fact turns into the secret horrors of the human condition. [...] And somehow much of this is horrifyingly hilarious - when it's not raising the hairs on the back of your neck. Directed by Jason Nodler with the dangerous and exacting patience of a snake, this show is both intellectually stunning and emotionally unnerving as it snatches evil out from its hiding place and holds it up to the dazzling light.

The emotional power of Life Is Happy and Sad lies in its disarming sincerity ... The sweet truthfulness of the central character - Daniel Johnston is played here by a very compelling Matthew Brownlie - does not keep Nodler's production from being highly experimental ...  The powerful music is the best reason to see this show, and it's stunning to watch Brownlie change from a shy, lonely, bumbling guy trying to make songs on a practice piano into a super-sexy rock star in complete command of the stage with his band. The two sides of the character demonstrate with moving clarity that life is indeed happy and sad. 

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