Zachary Stewart

Director Jesse Berger never makes a firm commitment in favor of serious tragedy or tongue-in-cheek comedy, resulting in the uncomfortable cohabitation of gasps and guffaws, a familiar sensation in early imperial America. Emily Rebholz’s severe black-and-white military costumes are the stuff of a fascist nightmare, while Jiyoun Chang produces genuine moments of slasher-film horror in her lighting. But sound designers Adam Wernick and Shannon Slaton knew exactly what they were doing when they chose to underscore the horrific banquet scene with a gentle piano arrangement of “What a Wonderful World.”

But our two living protagonists leave the deepest impression. Equally humorous and thoughtful, Trash is a fascinating look into the lives of Deaf men in 21st century America, where anxiety around sex, work, and a creeping sense of obsolesce is aggravated by the daily struggle of existing in a world that has been primarily designed for the hearing majority. In this stark and perilous reality, clear and effective communication is essential. Caverly and Morrill tell a story and make it count with this surprise theatrical treasure.

It’s unexpectedly poignant, yes. But more importantly, it’s so much fun. We feel that from the moment the cats vogue down the runway (authentic and death-droppingly athletic choreography by Omari Wiles and Arturo Lyons). The crowd goes nuts, cheering, clapping, and clacking fans in appreciation, making this event feel like a real ball.