Review: THE CATASTROPHIST at Theatrical Outfit Accomplishes a Herculean Task

I'll be honest, one-person shows scare me. In my experience, I usually end up tuning out even if I don't want to - without at another actor on stage it's hard for me to pay attention. However, I am a huge fan of Atlanta-born Lauren Gunderson, so I was looking forward to facing my fears when I saw Theatrical Outfit's recorded performance of Gunderson's new play THE CATASTROPHIST. I'm happy to report that I was able to pay attention the entire time and thoroughly enjoyed watching the show.

THE CATASTROPHIST is a deeply intimate conversation with wildly experienced virologist Dr. Nathan Wolfe (Gunderson's actual, real-life husband). As Dr. Wolfe, nicknamed Nathan in the show, actor William DeMeritt monologues about his life's work, life's passions, and life's tragedies. For about an hour and a half, the show takes the audience through a beautiful metamorphosis that's equal parts cinematic and theatrical.

The show is split up into several, differently named scenes - each of which is a complete monologue and has different stylistic choices of music, lighting, and technical elements.

I actually got some STAR TREK vibes during the show, mostly from DeMeritt doodling on a dry erase board while wearing a maroon shirt. At first, I didn't think anything of it, but the tension of the show gets to such an high point that the joke of constantly losing Redshirts in Star Trek suddenly becomes a very real threat.

DeMeritt as Nathan has a regal air in the way he approaches this show that helps elevate the entire experience. You can instantly sense this is a man who knows far too many things about the way the world works to be able to sit on the sidelines and do nothing about it.

DeMeritt's pointed glances, well-timed breathing, and full-body activation crafts an irresistible narrative of the plagued professor who wants nothing more than to survive this 2020 crucible. DeMeritt brings such an active and engaging focus to each monologue that he captures and then demands your attention throughout the entire piece.

I also got some TED Talk and BOJACK HORSEMAN vibes during the show - mostly in the monologues themselves, which are about two things: viruses and Nathan's existential crisis.

I'm a sucker for a good TED Talk so I was also a sucker for the science in this show. With so many detailed scientific explanations of viruses, I was surprised at how well I was able to follow along and understand. Nathan also monologues about the current COVID-19 pandemic and his personal role in fighting the virus.

A testament to the show's expertise, I felt as if I'd gained a confident understanding of the world of viruses by the end of the show. I could have sat through an entire lecture about viruses and been a happy camper, and when I first sat down to watch, that was what I was expecting.

After filling my head with virus lingo, Gunderson's more intimate, and even surreal, monologues about Nathan's existential crisis filled my heart. The stakes are incredibly high - literal life or death situations arise - and there is no guaranteed ending since the play is happening exactly in the now. It made me anxious for Nathan and for my friends who find themselves in situations similar to his.

I got strong BLACK MIRROR vibes from the way I watched DeMerritt's Nathan work through difficult feelings, become aware of himself as he did so, and even interact with Gunderson herself all in a removed yet personal way. The whole world around him was malleable and conventions were set up in one monologue only to be broken immediately in the next. I don't remember at what point I realized it, but it didn't take long for me to feel like there was a ticking bomb that would go off at the end of the show.

There are several meta-moments and fourth wall breaks throughout the show which contribute to some BLACK MIRROR vibes and overall intensity. Choices had consequences, and all those convention-breaking moments built up to an explosion where real life and the play became indistinguishable.

Theatrical Outfit's production of THE CATASTROPHIST also boasts some incredible technical feats. Clever stage lighting combined with brilliantly framed shots and thoughtful editing established a cinematic tone while occasional music, props, and setting changes felt distinctly theatre-esque. With the two combined, the show is an artistically unique visual experience.

With the distinct worlds of viruses and crisis placed next to each other, THE CATASTROPHIST creates a heightened sense of reality. It feels as if you're listening to Heracles recount the incredible feats he accomplished during his Twelve Labors mixed in with all the tragedy that came before and after them - it's a powerful thing to be in the presence of a demigod.

My favorite part about this play is that it felt like I was back in the theatre again. It gave me some year-old feelings of sitting in an audience and watching art happen on stage. Poignant, topical, and insightful - THE CATASTROPHIST by Lauren Gunderson at Theatrical Outfit is well worth the watch and could be the best one-person show you'll see and one of the best Atlanta shows this year.

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THE CATASTROPHIST streams through March 21. Visit TheatricalOutfit.org for more information and to purchase tickets.

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