Seat For Theatre

Maybe you know from middle school biology that the virus hasn’t survived. They have no cells. They cannot live without a master. They did not perform all other biological processes of life processes.

However, whether the virus is still alive or not, Nathan's character in the "catastropheologist" tells us that it doesn't matter. What is interesting is the semantic problem.

On the contrary, it’s interesting that the co-evolution of viruses and organisms can tell us about how life began, whether here or in other stellar systems. Nathan is on the Digital World Premiere Committee, the Marin Theater Company, and the Round House Theater. .

San Francisco playwright Lauren Gunderson

The "catastrophe" who records the husband, virologist and epidemiologist Nathan Wolfe (Nathan Wolfe) husband’s life and work, and best of all, a single-player drama (on demand until February 28) Day) is an art and science class that you want to do, that is, you not only have to absorb interesting facts, but also re-adjust your mental order of the universe and its position in the universe.

Think the virus is weird and creepy? Guess what: "80% of the human genome is of viral origin," Nathan (William DeMeritt) said. "Eighty percent of us are them!"

Think humans are at the pinnacle of evolution? Nathan said that, in fact, we are bored compared to the seemingly endless diversity of microbe brothers. "Human beings are periods at the end of long sentences in some minor paragraphs in a short chapter of the Encyclopedia of Life."

Dropping these explosive bombs, De Merrit was driven by the confidence of scientists in his views and his outrage at the inability of other species to reposition themselves as self-centered. He demonstrated the ability of a classical actor to use words as a springboard, starting from vocal syllables and developing rapid narratives, but everything went so smoothly that few individual mechanics aroused people's attention. Every moment, a thousand thoughtful choices are compressed into one carefully calculated operation.

However, even his excellent works cannot survive many of the script. If real-life Nathan Wolfe's work is fascinating, then the "catastrophist" will do everything possible to cover up the rest of his life. The relationship with the father often depends on clichés. Everything I did. "The chapter in life that must feel extremely important-the key media report, the discovery of the death of a long-forgotten friend-is very relevant here. If you were told by Gunderson and Wolfe in their living room, these It is the kind of trick that you will pay close attention to, but in a story with your own needs and goals, this does not cause the narrative cumbersome.

Camerawork (directed by Jasson Minadakis and Peter Ruocco as Director of Photography) switched perspectives at a whip-induced frequency, which seemed to justify the use of a medium that is neither full theater nor full film. Before long, you may start to predict when DeMeritt will pivot his neck again, so predictable becomes the rhythm of camera angle changes.

However, people who often see the Bay Area may find it very comforting to see the 231-seat Boyer Theatre of the Marin Theatre Company in use. This is the familiar pink seat with some friction on the plush surface; the stage lighting click (designed by Wenling Liao), used in conjunction with the sound design of Chris Houston, to limit Nathan's world. The "catastrophists" say that the theater and its tools are still there, fully functional. They are just eager to let all of us-audiences, artists and staff-return and revel in their glory.

Written by Lauren Gunderson. Directed by Jasson Minadakis. Until February 28. One hour and 18 minutes. $30.

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