Big Death and Little Death

Ticket Price

We Suggest $35
More If You Have it
Less if you don't


Quintero Theatre
133 Cynthia Woods Mitchell Center Houston
TX 77204,


Apr 3, 2008 -
Apr 19, 2008
A dark comedy with pit-bull cannibalism, death metal, war veterans, car crashes, drugs, sex, teen angst and the end of the world.

Cast & Personnel

Scenic Design
Costume Design
Lighting Design
Sound Design
Prop Design
Stage Manager
Assistant Stage Manager

The Play

Mickey Birnbaum’s apocalyptic comedy, which premiered in 2005 at Washington, D.C.’s, Woolly Mammoth, is about a returning Gulf War vet who finds himself unable to reintegrate into society and his family and the effect on his teen son and daughter who need his attention.

The Playwright

MICKEY BIRNBAUM teaches screenwriting at Santa Monica College, and playwriting and screenwriting at the University of Riverside Palm Desert Low-Residency MFA in Creative Writing and Writing for the Performing Arts. His plays include Big Death & Little Death, Woolly Mammoth, Washington D.C.(2005), produced subsequently at the Road Theatre with Larry Biederman directing; PEN USA Literary Awards Finalist. Bleed Rail, The Theatre@Boston Court (2007); Garland Award for Playwriting. Backyard, Echo Theater (2014), Sage Award, PEN USA Literary Awards Finalist. Developed screenplays for Universal, Paramount, Columbia/Sony, Interscope, Warner Brothers, and Appian Way Productions. Collaborated with director Steven Shainberg (Secretary, Fur) on the screenplay for The Big Shoe, and the adaptation of John Irving’s novel The Fourth Hand. MFA, University of Riverside, Palm Desert.

Photo Sets


“Catastrophic Theatre is off to a bold start
Cynical, irreverent, nihilistic and surreal — populated by disaffected, death-obsessed teens and destructive, screwed-up adults, all hurtling toward an inevitable apocalyptic conclusion.  For all that, the script boasts its share of mordant humor. Director Jason Nodler and his cast usually make the most of it in a theatrically-charged rendition that maintains interest and often generates its own brand of twisted amusement.” 
— Everett Evans, Houston Chronicle

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