“I’m generally a hearty non-fan of immersive, or, as it is advertised here, ‘interactive’ theater—but Ms. Waller, while remaining in character(s), brings an easy naturalness to the manner in which she welcomes the audience into the show, so that the rapport between these weird dramatis personae and those who voluntarily exchange words with them feels unintimidating and even, at times, affecting.”
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“ ‘The Creeps’ offers an impressive showcase for Waller’s own chameleonic gifts as an actress, her physical prowess, and her ability to improvise in character. Certainly, even if I remain unsure of just how much I actually liked it, I left the theater knowing I had seen something — or at the very least, someone — distinctive.”
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Although Waller’s physicality is impressive, the characters seem to be living in a vacuum. We have too many unanswered questions about the freak show we appear to be attending. Neither Monnin’s lighting nor the sound design by Hidenori Nakajo are particularly effective or creepy. The scariest moment is entering the theater where the lighting turns everything black, white and grey, bleaching out all colors, but we quickly get used to this strange state of affairs.
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“...’The Creeps’ seems to be hinging on Waller’s and the characters’ engagement with the audience to bring resonance to the proceedings.”
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Charismatic New Zealand-born performer Catherine Waller is bewitching in her hour-long highly theatrical solo show which is comprised of dark vignettes. Ultimately, The Creeps’ overly cryptic sketches and variable audience participation sequences do not cohere into a fully satisfying theatrical experience and isn’t really shocking as it has been promoted. Still, The Creeps could be enjoyed as a spirited Halloween-time diversion and as an opportunity to encounter Catherine Waller’s immense stage talents.
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“Getting into too much detail would spoil the frisson of uncertainty and sense of surprise that ‘The Creeps’ maintains from its first moments until its closing fade to darkness. To discuss those details is, anyway, no substitute for the galvanic company of the Creeps themselves.”
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