I have never seen anyone as infectiously delighted with science, specifically epidemiology, as the protagonist of “The Catastrophist” — not even Bill Nye. One of the joys of this multi-layered show is how seamlessly the science weaves into questions of life, death, and loving and art.
This lyrical world premiere is a love letter to creation, to the terrifyingly expansive tree of life, and to the vagaries of the circle of life. It’s an incredible journey.
It also has some really funny moments that beautifully balance the sorrows that life metes out. Only the language is both more sparkling and more defining than most of us ever really say aloud in the daily round. This is not a criticism.
“The Catastrophist,” written by Lauren Gunderson, is about Dr. Nathan Wolfe, who also happens to be her husband. A renowned virologist, he was named by Time in 2011 as one of the “100 Most Influential People in the World,” along with a host of other awards. The man’s love of science and life in general shines through the script, as does his ability to instill wonder in the audience. If only every student at some point had a teacher like Dr. Wolfe.
Basically his life’s work is devoted to planning for catastrophes. But not even the catastrophist can’t imagine them all. As Gunderston writes it, this is not a play that is linear in nature. It is grouped by episodes where “man plans and God laughs.” The Yiddish saying is very apt as Dr. Wolfe is Jewish. We get the ying and yang of the plan/catastrophe in detailed, heartfelt moments.
As Dr. Wolfe, William DeMeritt is the embodiment of the scientist, son, friend, husband, and father he plays. With expressive eyes (this is a play that works very well in a filmed environment) and subtle yet telling expressions and movement, we are pulled into the Wolfe’s journey, and held rapt by it.
Dr. Wolfe’s relationship with his father was formative, but very little is said about his mother. There are a few admiring lines, but almost seem perfunctory.
This lyrical world premiere is a love letter to creation, to the terrifyingly expansive tree of life, and to the vagaries of the circle of life. It’s an incredible journey.
Director Jasson Minadakis keeps the action to a brisk 75 minutes, but without anything feeling rushed. Wen-Ling Liao’s lighting designs somehow ground us in time and place in the middle of a pretty bare stage. Peter Buocco is the director of photography and editor, and the camera work is nearly seamless. Chris Houston is the composer and sound designer. His work is subtle and unintrusive, and adds depth as well.
This is a show to savor and get lost in. It may be one man’s journey, but in a way it’s all of ours. As 2020 showed us, we may plan, but the universe laughs. Yet we, as is the Catastrophist, are still standing.
Running Time: Approximately 75 minutes without intermission.
Show Advisory: Adult language, suitable for mature teens and older.
“The Catastrophist” runs through February 28, 2021, in a virtual environment (Vimeo), by Round House Theatre (Bethesda, MD) and Marin Theatre Co. Tickets are $30 (with a $2.50 service fee). For more information, please click here.
