Exhilarating live theater... Resplendent with vivid ideas and colorful characterizations, an aboriginal archetypal ambience, along with clearly drawn, commedia-like characters, charming yet edgy, bizarre yet real...
It bursts with imagery, concrete and fantastical. 2011 A Space Odyssey meets It’s A Wonderful Life in walkabout dream-time.
Doors open unexpectedly, physically, metaphorically, virtually and otherwise…. It’s a State Fair Fun-house full of alarming kooks, raging cranks and mirrors of the soul.
Alexandra Bonifield, Dallas Examiner
Look no further for a reason to break free from the monotony. The latest production from Dead White Zombies, blahblah, takes audiences through the lives of a young Dallas couple as they struggle with the humdrum toils of life set against the backdrop of the metroplex. But after taking a wrong turn down a cul-de-sac in their North Dallas subdivision, the young couple unexpectedly finds themselves in the center of their dreams, fantasies and memories. blahblah is the inaugural production for Dead White Zombies, created by Dallas director and playwright Thomas Riccio.
"It puts the hip in hypocritical... Abel Flores Jr. and Lori McCarty play the dysfunctioning duo, Karl and Joyce. Just creating a believable history would be a feat with this triple-meaning text, but they go further, successfully engaging in embarrassingly cute couple-play. Of all the Sturm-und-Dranging in this evening, it’s the loss of that little honest connection that was most affecting when all is said and done.
Iknur Ozgur and Brad Hennigan are delightful as Simone and Gustav. Ozgur’s Simone is a pitiful husk hallowed out by celebrity. Hennigan’s Gustav engages so fully in his indulgences that he makes everything seem a perversion.
Mardi Robinson plays the archetypal adolescent, Marty, with a sock in her pants and a chip on her shoulder. Raquel Lydia Leal is most successful as Coco, the stripping and tripping friend of Simone.
Drawing on the phantasmagorical à la Rocky Horror, the metaphorical à la Alice in Wonderland, and the horrible à la Real Housewives, writer/director Thomas Riccio combines and contrives a bitter brew of cultural recursiveness that condemns its own contrivances.
The star of the show, though, is Riccio’s set combined with Justin Treece’s lights. Ages of black box theater may come to an end with this production. Gone are the black drapes. Riccio’s triumph is a set made of white translucent nylon curtains that allow Treece to change color at will."
David, Novinski, Theatre Jones