Our Late Night isn't so much as a play as it is a dreamy dip into full-on voyeurism ... Never has doing nothing on stage been this sexy ... The cast - superb all - consists of veteran Catastrophic company members along with seasoned newcomers. ... Nodler's direction holds true to Shawn's brand of deviant realism, letting the silky prose push forward into the intimate spaces, without neglecting the base humor. It's a difficult play made oddly beautiful, even serene and tender in parts. Nodler mines the material's breathing spaces, keeping it authentic, and always human.
Maher's work feels more like a symphony than a play. It's a joyride for choral music lovers, and it's best to just strap yourself in tight and enjoy the prose-bending trip...Maher's work defies conventions...The cast —all superb—each bring their own distinct variety of mania to their bizarre characters. The play makes for one snazzy showcase for the current talent trust at Catastrophic...Jason Nodler directs close to the center, keeping true to Maher's idiosyncratic ways. Bless this stalwart troupe for bringing Maher's breathtakingly original voice to Houston. “Spirits to Enforce” is a quote from the epilogue of The Tempest. The very next line, “art to enchant” aptly describes the show.
Maher's language is rich, deliciously thick, and peppered with the kind of Bushisms that the late Molly Ivins would cherish. W's meltdown veers toward the poetic at times. It's funny and horrific, brutal and absurd, mostly all at once...Sean Patrick Judge (Lehrer), Paul Locklear (Bush) and Troy Schulze (Kerry) deliver pointed, spot-on performances, demonstrating a mastery of mannerisms that never descends into full-out parody. Judge nails Lehrer's modulated tone, Locklear, W's good ol' boyness, and Schulze, Kerry's wooden gestures. The production, directed by Catastrophic Theatre's Artistic Director Jason Nodler, is the sharpest thus far from this newish troupe
Never underestimate the power of a can of oops paint pointed in the direction of some savvy successful street artists’ newest work. Troy Schulze’s new play, The Splasher, lets loose a can of militant art worms at DiverseWorks, with the second offering of the newly formed Catastrophic Theater.
Schulze has a penchant for gleaning juicy stories from the real world. Really, why make stuff up when you have ticking bomb world out there feeding you choice material. As a key figure at Infernal Bridegroom Productions, he contributed Jerry’s World, culled from transcripts of the cult radio guy, Joe Frank. Me-sci-ah drew from archival interviews with science fiction writer and founder of Scientology, L. Ron Hubbard. It’s downright fabulous that Catastrophic Theatre continues to nurture Schulze’s idiosyncratic talent. He’s good with found text and he’s picked a blistering hotbed of controversial events for The Splasher.