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Pulsating Truth Pressing Thoughts

BloodAlley3@ZJU_PostcardBestWhat purpose does horror serve in society, other than an endorphin and adrenalin thrill ride and maybe a good excuse to snuggle close to someone…

It informs; horror shocks the consciousness into wakefulness through violent terror induced understanding, voyeuristic to be sure, however the only way to show the darker truths folks strive to remain blind to.  The witch in the woods was simply to scare children off of the dangers of the wyld wood, Undines & cracken to warn of the dangers of the sea, the pied piper to avoid the sell song of the stranger… The Witch the horrors of coming into puberty as a woman in a world of men… Get Out the complex relations of how even those who appear to be allies can be more dangerous than the overt bigots…

ZJU’s  latest show takes that premise of informing, waking up through horror down twisted turns ever spiraling down human pathways alwayse there; the left turn down any street, road, way or Blood Alley that we choose to remain blind to. It’s hard to remain blind when it’s right in front of you though, that’s what Blood Alley does. An ever present thrum of life in front of you all the horrors to the left we ignore…

Ushered through the darkness guided through the nightmare of reality before you with an ever pressing pounding beat, Kevin Van Cott’s living score keeps your heart racing your breath caught in your throat, ever prepared for the continual undulating coup de grace from the pieces on stage. An organic beat ever present, pounding of quickened heart, chocked breath, a wave of living sound washing over you, keeping the torment of life going, unable to look away for the constant beat pressing you forward through countless weighted scenes.

BloodAlley3@ZJU_PHOTO-1The deep layers to Blood Alley kick off from the start, if you’re of a mind to see them. The journey opening with a cop, shepherding the narrative forward, whom pulls the audience into the dark of the Alley. How dark a journey when even a peace officer must turn away from his first blush with life. Things can only get more human and more darkly real from go tonight.

Be prepared for the loudest silence you’ve ever felt, figuratively and literally. A nearly dialogue free show, with a constant beat of drum and instrument, the scenes unfold leaving you with only your thoughts, your interpretations of what unfolds before you. The longer the pounding absence of word and form the louder your conscious grows, louder and louder still. Do you find catharsis seeing horrors you’ve lived through, does a scene jar you awake to realize just how isolating the constant push of life is, a beautifully sad & scared Nicole A. Craig stumbles through an underground clearly in distress yet the world ignores her as they do all others who suffer. A scene sadly juxtaposed with the ensemble opening in which the undulating mass of beautiful humanity gathered around Nicole wanting her entirely. The ever present loud silence hammers home the reality of this horror; we are disposable to the wrong folks…

The scariest part of Blood Alley isn’t the vividly displayed horrors, it’s the message the core that this is life, it’s real it’s raw, and people are the scariest monsters. This would all be without weight if it weren’t for the powerful ensemble at ZJU making beautiful art through a gruelingly intense performance. So many individuals stand out living pieces of a machine ever reaching to crescendo. Michelle Danyn for instance bringing horrifyingly beauty to death, in her portrayal of a corpse come alive, or showing the startling confusion of love’s control reversed, snuffed out. One pray we never need appear on news camera and say “no Jason Britt never once showed any manic signs…” so powerful his facial control able to bring up the darkest of masks, the hungriest of carnal wants, to the placid bliss of wasted life. (all compliments intended Jason you display emotion fucking powerfully)BloodAlley3@ZJU_PHOTO-4

There isn’t a scene wasted in Blood Alley where an individual doesn’t stand out supreme, from the opening with Elif Savas’ gorgeous voice rending the darkness apart; startling the audience with horrible beauty. If there isn’t an actress/actor at their isolated pinnacle than the entire ensemble becomes an organic beast raising the tide of emotion across all levels. A pulsating ensemble so human and so very charged with emotion & yes sex.

Some of it is subtle, some in your face like the preshow. Costuming and body control are very much a part of it, particularly for the isolated scenes, one or two presences on stage. Patrick Beckstead makes one fucking fine looking priest in a well cut suit, delicious enough to tempt even the most pious male attracted persons, and some female attracted as well. With the gothic goddess Shayne Easton covering the span of, in control to on the edge, femininity in an endless display of form becoming dresses. Jason meeting his force & control match in the sexy and “endowed” Yael Wallace portraying a beautiful transwoman and hungry transwoman… Sex is part of life, a powerful part of life, powerful in that to own and control such power one must own and control themselves.

That perhaps is the key to survival as presented in Blood Alley, control over self, a rising power from within. In all the horrors presented on stage, there are treads of hope, in the form of persevering strength. There are horrors around, and as seen in the underground not many will stop to help, so you have to tie those sheets together and escape.

Blood Alley is a powerful ride ready to sweep you away for any brave enough to venture to North Hollywood. For best experience I’d recommend arriving early and grabbing seats on house right, left of well you’ll see. That’s the one flaw in Blood Alley, it’s blocking, use of stage. While the stage set up portrays the living alley quite well, there are a few scenes which lose their effect for 30-45% of the audience if they sit in the wrong places. There are several powerful walking off scenes which start at the 50 or 55% mark preventing a sizable chunk of the audience from ever seeing the powerful expressions on performer’s faces. As well as using floor center instead of what appears to be the head of the stage to elevate important singular stationary scenes.

It’s hardly even a medium sized thing, and the affect of an alley worth adjustment, but Blood Alley is a show that deserves a chance for the weight of its powerful imagery to take full effect. You’ll want to see as much of this show as possible and there are vantage points which can leave you out of that one on one intimacy between performer and viewer. Particularly for one or two powerful scenes.

If you’ve made it through my ramblings, go see Blood Alley, there is only one weekend left and it’s the best show to open up the summer heat in my opinion.


Blood Alley (Directed by Zombie Joe) runs through June 10th at Zombie Joe’s Underground Theatre in North Hollywood.

For more info visit:

All Photo Credit: ZJU

Humanity distilled & transformed

THTRAlchemy1With a booming, Welcome to the Theater, welcome from John Kenower, in a brilliant opening/introduction. John created a strong character that could host their own show, his stage presence was powerful from go.

Hitting hard from curtain, is a grand catching harbinger you’re about to spend an evening catching your breath; exhaling & trying to take it all in.

Jonica Patella as a gender bent fairy, named Poorly, in a mailbox with the gender neutral Truly (Gloria Galvan) kick off the night with amazing upside down energy. I’m sure if one could harvest the essence of Jonica’s transformative energies, her twisted turning spiral, ever descending plunging into the deepest darkest fathoms of extreme faemanity, humanity, they could power an empire. Or at least bestow a portion of that blessing upon many thespians, the ability to take any aspect of the human condition and spiral it to it’s most extremes. Made more apparent by the zen like ability of Gloria to hold the stage next to such energy in stillness, drive the arc forward through subtle turns. Maintaining the drive of the story through the storm of Jonica transforming… Wow…THTRAlchemy4

All to the credit of that mad task master, the wraith minded, fierce & sharp, Elif Savas. Practically an elemental fae-force manifest, her direction you can see the madness which she brought forth on the stage, the rise and fall of emotion, pulled forth from Gloria and Jonica something alive & powerful, all the more beautiful for the ephemeral nature of the stage.

Frustratingly maddeningly restrained sensuality, the lub-dub of heart throbbing pressure awh the gentle release of breath next to ear. Monica K. Ross hammers home a hard sensual line over and over until you’re breath falls in rhythm with the flow of breath & emotion on stage, hard to soft cutting building. John Kenower’s firmness with his opening carries through in his direction of Let me be bamboo for you. John cages the raw fury of Miss Cate’s writing only long enough to direct the blast of restrained sexual nuclear fusion right into the breath & beat of the audience. Monica, becomes an ever flowing rhythm & flow, back and forth against an endless pressing presence; Rick Brown. A ceaseless flow of emotion ever more constrained, frequencies rising, manic crescendo shattering upon = suspended release for the audience, a breaking of tension through denial, evaporation. The timing and ever constant lub-dub breathe in & out tension cutting off breath frantically rising…

Left seeing the writer lay bare through verse & breathless flow; it’s a good thing this show has an intermission coming up soon, hopefully, help, I need air…

Taking a voyage past titanic archetypes of the gender divide Vanessa spins a tale of a monolithic masculine, *writer makes extravagant hand gesticulation at screen to describe the, mountain of man Captain portrayed by John T. Cogan. That ever distant untouchable unknowable even to himself man’s man. So repressed in his everything, restricted & controlled, ever so confused as to why there is a yearning ever present. Mayhapse treat your Daisy (Ilona Kulinska) as well as your vessel and… well we all know how well that would go. Ilona encompasses an archetype hard to portray, the surrendered. To give yourself over in a way that retains agency, riding the waves of life another directs your course through. It takes strength to do so, that’s the Titan of womanhood Ilona portrayed, from the wrong angle many might see full surrender, but it takes strength to flow with the course the one you care sets… Ilona captured this splendidly. Again that talented and off center talent Miss. Savas drove such huge ever elusive icons of masculinity and feminitiy from the depths of her cast. Given chart from Vanessa, Elif set speed & meandering raging sea building course.

THTRAlchemy18Lemon Head, both the character and the vignette serve as a perfect portrait of privilege & imperialism. White collar culture superiority, elevating the mediocre to such great heights, destiny manifest and all that focus studied ever assured ever striding forward buy sell focus group quietly report steamrolling individualism never stopping alwayse going… American western exceptionalism. Thanks for thinking my thoughts for me Susan (Mariana Leite) playing the part so many of us know too well. The one who says the idea the A type male dude bro repeats as if it were his own. It’d be less tragic for its hilarity were it not ever so damn true and Mariana shows this truth ever so well. Can an over worked insomniac be woke, or is it an intense dream state like being woke. Starting from the bottom of insane insomnia I guess one can only pass out or wake up. Roger K. Weiss takes Lemon Head by the scraps of held together psyche that is those about to wake and runs hard against the endless corporate motto showing the fate of those who over slept/showed up late…

For the highs of Lemon Head, it’s the one piece in the collection with a few flat lines, mistimed moments that could have better drawn out those Ah ha recgonitions of the problems related to us by the narriative, lines sped up. Enough that the weight of Lemon Head before dampened ever slightly by the slowlness in places. THTR Alchemy is intense and Lemon Head delivers, those extra beats as the audience grows wrestles though… mute the power of the delivery.

Take careful notes Lisa (Alariza Nevarez) will tell you exactly what you’ll need fourteen strokes of to win your men ladies, and perhaps small low upper body strength men. How to win a guy in one hour is a manic ride, teeth clenching tense seeing Alariza portray a human that is at this moment out there. Or maybe I was caught up in the intensity of her performance; I hope there aren’t too many women like Lisa out there.

Bridget, with Monica K. Ross as Bridget & Rick Brown as Terry is realistically cute. Anyone who has ever been a couple has lived some version of the scene unfold in their lives. Utterly human there portrayal was real & sweet and I can’t add anything with flowery verse to say more or better. It was truly nice theater, sweet & human.

THTRAlchemy14Speculative fiction has many trappings and overlays, fantasy being a grand beautiful one of them, and Shayne Eastin’s words do better justice then mine do to the definition of fantastical spec fiction. Message, hope, warning even if it’ll never be heard by enough the journey is sweet enough to give catharsis to those who go on the journey (audience awake). Fantasy is pretty, used well it’s a sharp thorned rose drawing those who know not they hope to change in. As Fleet (Sasha Snow), Spring (Spring), & Floot (Jonica Patella) are dangerously deployed by Vanessa Cate to lure the audience in along with Daniel (Max Faugno) & Ezra (Aj Brody). Destroyed & transformed those two boys were as all must be who are about to wake. I wish Miss. Eastin’s words, her allegory would wake a few others to the core of her message.


THTR Alchemy ran Friday & Saturday May 19 through 27th, a production of True Focus Theater showing at the Eclectic Theater.

For more information please visit Miss Vanessa Cate is constantly blowing minds and shocking sensibilities with her wonderful productions.

All Photos credit: Adam Neubauer


Twisting Shakespearean Songplay

TwelfthNight@ZJU_PostcardBestTwisting Shakespearean wordplay into witty songplay Denise Devin alwayse finds fun ways to pull Shakespeare apart and build them back up into her unique, perpetual, motion oriented fast paced theatre. I think it’s alwayse a wild ride, but the audience must agree, from go they were clapping and swaying along. Right here is where I regret the lack of emoticons in proper writing, I’m grinning writing this up, remembering Miss Devin’s perfect Twelfth Night adaptation. Screw it J J J

Denise enthralls the audience from the start, keeping us on our toes, ever moving, both physically and through those ephemeral sensations which make theatre worth wyld. Ever moving and ever building Denise use strong actors to push the momentum alwayse forward. Each piece of the ensemble fits together, parts of the whole who’d certainly leave holes had they not been involved in this adaptation of Twelfth Night.

Sir Toby Belch stands out Roger K. Weiss lifting and driving the mood of every scene he graces, a levity which maintains after he’s left the stage. A consummate touchstone of energy Roger was the base level for the whole performance. Keeping the energy and pace moving allowed the contrast for those scenes which need be slower, powerful in a different vein. This can be difficult in a show that’s alwayse moving forward at speed, a bar with which to clear a jovial character and actor keeping the pace in the faster scenes gives that needed differences while maintaining the quickness Denise set forth to drive her version.

With a horn of amalthea for an ensemble Let’s see if I can hit a few cunningly turned adjectives here for a much deserved cast…

TwelfthNight@ZJU_PIC-4Feste (Kelsey Arnold) is an odd mix of character and background current, ever the puckish trickster Kelsey flows from active role to head tilting faux pantomiming. Adding life to what would be ribbon covered darkness of the black box theatre, Feste comes alive as both a character and component in Denise’s ever changing, magical motion of emotion. Zoe Canner gives a fierce hunger to Olivia, a stalking powerful quality to her grace and dignity. Olivia’s powerful cunning demeanor is needed to keep the overly rowdy and affectionate Sir Andrew Aguecheek (Zack Zoda) at bay. A tough measure as Sir Toby keeps goading him along in the most humorous ways, Sir Andrew expanding the bad ideas to terrible heights. J

Roger K. Weiss’ cut ins as Sir Toby Belch are so perfectly timed they serve as a piton, an anchor for Denise to swing the motion in any direction she chooses, including roundabout to the same way and out stage left. If Roger was a damn good anchor, Nicole A. Craig as Maria subtly, then powerfully, stole the show with a crescendoing energy that swept the audience away as much as the amazing musicals weaved into the story.

Kerry Kaz Kerry KazMalvolio gay as a maypole and I love him so. He’s presence on stage is so flamboyant it makes you clench your teeth to keep from shouting your joy at his interpretation of Mavlolio. Every scene he’s in has this tension, you’re forced on the edge of your breath waiting for Maria’s crash which finally comes and it is grand.

TwelfthNight@ZJU_PIC-2Noble Duke Orsino (Nick Abrell) plays his part as the unknowing seducer and seduced so smoothly you’re left so damn happy when his eyes are open to Viola (Branda Lock) the beautiful smart talented Branda playing the part of Viola like a piece of classical music sweet and strong building to rapture when her identity uncovered, reunion and matrimony joy all around.

Antonio and Sebastian (Carlos Chavez and Tomas Dakan) have a swashbuckling charmingly swarthy bromance going on. The chemistry Carlos and Tomas have on stage, I want to see them in something else action leaning, twisted and fun.

Denise alwasye transforms Shakespeare into the most fascinating and enjoyable rides. It helps that the folks at ZJU not only are damn talented, but they have fun with what they do. After all it’s called a Play, the audience and the cast feed and build on this fun energy, when it’s present it’s palpable. Denise alwayse brings that weight of emotion and experience to her adaptations of Shakespeare, and I’m so lucky I get to review her works.


Twelth Night (directed and adapted by Denise Devin, Produced by Zombie Joe) ran the end of April through May 14th at Zombie Joe’s Underground Theatre Group in North Hollywood.

For information on more great shows visit and you should go there, see whatever they have J

All Photos credit: Denise Devin; Postcard by David MacDowell Blue

Ascerbicly Barbed Roses

ARTIFICIAL_FLOWERS_Wed_555Lie back on the couch and tell him your darkest truth… and he’ll still bite you. Phelix (Jason Britt) isn’t a therapist, not with the way he toys with Maeve (Emily Charouhas) using his jovially ascerbic wit and remorseless sociopathic jabs. Damn if Phelix doesn’t make Artifical Flowers feel like a good session of therapy, until it’s not good for you… or is it.

A thrilling ride from its slow sensual beginning to an emotional thunk, “damn”, the denouement hammering home with weight felt pressing upon the air itself.ArtificialFlowers@ZJU_PHOTO-2

Carefully crafted dialogue sets you at ease drawing you in alongside Maeve, until the playful wit turns sharp and cuts at you. Artificial Flowers feels like every bad relationship you’ve (I’ve) ever had; Phelix has enough redeeming traits to keep Maeve coming back, Artificial Flowers keeps pulling you in deeper and deeper. Then it all turns pear shaped, Phelix hurts Maeve in word or deed, Artificial Flowers punctures and scratches at you with powerful emotions and painful resonance echoing forth from Emily’s portrayal of Maeve. The whole structure of Artificial Flowers is set up like the relationship it portrays; there is an ebb and flow to the emotional current. You’re set at ease then taken high or low, back to a faux neutral before you can catch your breath you’re processing the next witty line, the next emotional swing from powerful portrayals of deeply real characters.

ArtificialFlowers@ZJU_PHOTO-1I said above that Artificial Flowers feels like a good session of therapy, and that the emotional structure is similar to an abusive relationship. There is a duality to that, and the good comes from the direction of the ebb and flow. Whatever conclusions you may draw from artificial flowers, you can draw because you were led to them organically. The give and take of Artificial Flowers while having its highs and lows emotionally, cognitively AF drew you ever closer to your personal conclusion. The evidence was presented and you were allowed to sway back and forth seeing more and more with each cycle, each turn of the wheel. I say the conclusions are personal, because theatre is complex and personal; more so Artificial Flowers is, complex and personal, an obsidian black mirror ringed in thorny vines held to the hearts of every fucked up, and not so fucked up, member of the audience.

Ragged, exhausted, introspective, you’re left feeling after Artificial Flowers. Not simply a any descriptive flowery adjectives I can pull from the aether, Artificial Flowers simply leaves you feeling, it’s up to you what those feelings are.


Artificial Flowers (Written & Directed by Emily Charouhas w/ Brandon Slezak co-directing) ran at Zombie Joe’s Underground Theatre in North Hollywood.

For more information on future productions from ZJU visit

All Photos: Zombie Joe’s Underground

Tomorrow through the shadows

Sebastian Muñoz has curated the dreams & nightmares of tomorrow into a thrilling rollercoaster of delight.  The future is a place for hope, and a place where darkness can manifest; each piece builds upon the next, dark lows flowing into crescendo highs, alwayse a razors edge.

Kicking off with more than a touch of darkness Chris Campbell (director) uses the brilliantly transformative Jahel Corban. Jahel alwayse seems able to convey a myriad of emotions, becoming what each piece needs, reflecting powerful emotions through simply gestures & a bold presence. Playing against the hard edged emotions & chemistry with Sahsa Snow; you’re drawn in you’ll find the point of no return, too late.

Cutting wit, biting dialogue; Chris Campbell takes an approximately ten minuet piece and expands it beyond, building a greater world, a world of tomorrow’s what ifs. Sebastian Muñoz a tired man looking to do the right thing and find the way out, that way out lies through a meandering maze of poste & reposte, strong dialogue. Hubris & Heroism is the piece I most wanted to see expanded beyond the small taste of Chris’ writing.

Turning darker than brothers fighting over who controls father’s company Jennifer Novak Chun spirals down a thorny path cutting at your heart strings. As Home For Dinner came to a close a sigh escaped my body yearning to comfort this poor imaginary woman. Just as my breath escapes me, we pull into an odd direction giving an interesting Stepford exploration before diving into the darkest peace with Rip and Vanna Winkle.

Gut wrenching as the story progresses and the darkness comes to the foreground of Rip’s (Benjamin Fuller) understanding. Poor bastard…

Tales From Tomorrow is simply brilliant. I can’t wait to see future presentations, see how the show develops and grows into something singular. The soil is rich over at Force of Nature Productions; Sebastian Muñoz coaxes creativity in subtle & dynamic ways, building a community of supportive artists telling interesting stories.


Tales from Tomorrow is showing at the Eclectic Company Theatre Sundays at 7:00pm in North Hollywood.

For more information visit:

Coming home to hell

churchdiscipline_zju_postcardWalking in five minutes late I thought I’d messed up and stumbled into a revival meeting; five minutes later I was wondering when the snakes were going to come out, I couldn’t wait! That’s Pastor Luke (Brandon Slexak) for you, someone in his congregation might say about how he gets the parishioners going, up on their toes, tithing their spit… They didn’t teach you that at Sunday school? Shame.

Once again Zombie Joe’s Underground pushes an experiment off in interesting immersive directions. You feel like you’re in a church; at least I did, it’s why I acted out, and was chided a few times, Abigail (Zenobia Tucker) giving me the stink eye, for my sinful ways. I’m smiling as I write this because it really did feel like ticking off that busy body who’d shush you when you just wanted the extra credit for showing up in church presentably. That’s how immersive Church Discipline is, I felt like I was back at church. I’m still not sure if I should lodge a complaint or compliment with the ZJU management over such an experience… In all seriousness Brandon did a great job surrounding and pulling the audience into his odd congregation.

I’m not one for church going, but I’d attend services at ZJU if only to see the other non members squirm a bit. Church Discipline isn’t just in your face, at times it’s in your pew with you, unsettlingly close at times. Pushing past that ick barrier I took up the collection goblet, as did many of the other guests at ZJU that eve. That’s a powerful spell convincing nearly an entire audience to at least hold a goblet of spit, if not donate themselves. ZJU is like that though; even folks attending a show for the first time are swept up into the atmosphere. It’s alwayse an experience when you attend a performance at ZJU, there is a vitality in the energy coming off the performers gracing the stage at ZJU; sit those performers next to the audience & bring the stage up into the personal zones of the attendees. Perfect for keeping an audience on edge, for good & ill.

For the first time I can say I was sad to miss the start of church and pre sermon socializing, apparently all the good boys and girls who showed up on time were able to confess a recent sin upon small pieces of paper. A few of sins were read aloud by Pastor Luke (Brandon); looking round wondering what would happen next, I noticed several heads on swivel. Again, Brandon recreates that slightly oppressive in everyone’s business atmosphere, among an audience of strangers no less. Asking for someone to come forward, assuring none would judge, the sinner stepped forward. ZJU weaves it’s magic here, and Lola (Emily Charouhas) spins an audience members sin into her own. A dalliance with two men in a week becomes something far darker, and fully excusable it seems. In a head tilting way the odd congregation takes a weirder turn; which of course leads to the Devil, a Prophetess, a cross dresser and perhaps angels. Like I said, it’s an odd congregation, and one I’d visit again.

I will of course, another guise, story line, universe Zombie Joe’s Underground Theatre might not be an actual congregation, but it’s good theatre, and that’s good for the soul.


Church Dicipline ran from Feb 12 – April 9th at Zombie Joe’s Underground Theatre in North Hollywood.

Visit for more information of future shows.

Blazing Pinpoints

URBAN_DEATH_732-42_2017Blazing pinpoints of uniqueness lighting up urban sprawl, Urban Death has taken a turn down another dark alley vastly different, a comfortingly familiar like jacket (straight), from previous iterations!

Entering into a packed house, the usher finding only two seats remaining, I squeased in between two persons unknown, ready to hold my breath at any moment. One needs be prepared when they attend Urban Death, or they could find themselves jumping and screaming unexpectedly. You’ll still jump, but those mental placebos: clenched fists, stayed breath, grandmother’s scarf, eyes fixed open against the incomprehensible blackness knowing absolutely knowing there is something there. Or there isn’t the darkness is as empty as the magic in all our defenses. Still, the better to be prepared when walking into Zombie Joe’s Undergound, lest the darkness walks off with you.

Exhale, release, safety for now, only a mimed woman, yet she’s awfully close to that curtain; anxieties dancing like the muses already. The show hasn’t even started yet, but this and more is mirrored across the faces and body language of the audience; darkness, applause, tensions building again.

A siren rends the darkness open before lighting effects reveal nothing, but there’s never nothing for long. The slow build of a scene becoming an ever flowing overpowering weighted force, breaking suddenly to quicker scenes giving the audience a chance to breathe. Urban Death has constructed an emotional roller coaster examining the many ways beings, souls, minds, bodies et al. can die, or gain pleasure and pain from the destructive arts of life.

A change of pace from many of the previous Urban Death’s I’ve reviewed, there were fewer jump scares and blood splatter; in their place were twists and turns keeping the audience’s perceptions and thoughts on their toes. Just as scary, just as thought provoking, with that added pleasurable mental exhaustion from cycling through multiple unique points of emotional light. This UD feels like a drive down some of the more tangential allies of the metropolitan emotional landscape. That couple is simply having sex, look closer, turn down that side alley (was that Fabio, holding a corpse weeping?) and see it from a different angle and it’s something more. Is it the same thing taken to its extremes or was it something grotesque and nearly inhuman, it’s all in how close and from what angles you view through. Tilt your head to the side, look behind you or look quicker, we live in a vastly unique world and there are many ways to die while continuing living, and many darker ways to die and stay dead. Urban Death takes us on a tour, and might make us tilt our heads in life to see things from that oddly warped perspective that is humanity at large, one or two unique points at a time.


Urban Death Runs at Zombie Joe’s Underground Theatre Group Saturday nights 11pl through April 29th.

For more information please visit