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Review for A QUIET PLACE:
THE ROAD AHEAD

True to the spirit of the Quiet Place films, it’s an emotional, character-led narrative. So, if you’re hankering for a wall-to-wall bloodbath — replete with non-stop action and an excessive body count — then let’s just say there are other horror games out there that might better tickle your fancy. Outside of some minor injury detail and blink-and-you’ll-miss-it violence, there’s hardly any explicit content here whatsoever.

To be clear, that doesn’t mean the title is completely bereft of tension or creature-feature thrills, (on the contrary, there are some electrifying set pieces) but it is a slower-paced affair when compared to the likes of, say, Outlast. Indeed, it has more in common with this year’s contemplative Still Wakes the Deep than it does the relentless gorefest that is Dead Space or even the more sober of Resident Evil instalments.

Understatement is the name of the game here and the human drama can be fairly moving as a result. It’s hard not to feel pangs of sympathy, for example, as Alex and Laura try to reconcile their differences for the sake of a baby they both cherish, and the deceased loved one they both mourn...

But perhaps even more heart-rending than the main plot are the epistolary notes that you’ll discover strewn around the environments. In-game documents are nothing new to the survival horror genre by any stretch of the imagination, but The Road Ahead’s feel especially well-written and authentic.

From coy, back-and-forth flirtations penned by awkward tweens at a summer camp, to the devastating journal entries of a bereaved parent who’s sheltering an orphan; there are some properly engaging mini-stories here. If you’re anything like me, you’ll actively go out of your way (and even put the expectant mother you’re controlling in jeopardy) just to find the next note in a given series. Clinging to the vain hope that one of these tales might have a happier resolution than your own. Spoiler alert: few of them do.

Despite the lack of upbeat endings, though, there is a prevailing sense of optimism with these logs. Across the board, they depict people coming together and exhibiting remarkable selflessness in the face of dire circumstances. For instance, another text recounts how a pair of blue-collar workers went above and beyond the call of duty to keep a pump station operating post alien arrival, for no other reason than to be Good Samaritans."                                                 
                                                                       -Harrison Abbott, Bloody Disgusting

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Reviews for WOUNDED

“WOUNDED is one of the most emotionally complex and devastating plays I have seen in a long time…If the purpose of live theater is to connect us with others and illuminate their experiences so we can learn about ourselves as we witness them, then this piece has achieved its mission. It is an honor to have witnessed a piece of theater that can have that effect on an audience. I highly recommend this show."

                                                                                – Russell Eaton, My Haunt Life

“Kerry Kazmierowicztrimm has written something much more interesting than a play about the human cost of war. It’s more about how we deal with damaged people, or how damaged people deal with each other…I highly recommend this show.” Guy Picot, FringeReview

“Kerry Kazmierowicztrimm’s WOUNDED is hard to watch. And that’s some of the highest praise I can give theater…It may be completely sold out at this point, but try to get in. You’ll remember the experience for a long time.” – Matt Ritchey, Gia on the Move

"WOUNDED is not an anti-war play. It is a quiet, respectful examination of three intersecting lives.” – Mark Hein, Theatre Ghost

“WOUNDED is a must-see this Fringe. Go, now!" – Ashley Cotter, The Detective

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Poster art by Matthew Hill

Reviews for GRAY PEOPLE

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“Kerry Kazmierowicztrimm is a playwright who bears watching…He has a knack for setting people in tight situations, where their rubbing up against one another will produce not only friction but insight, as each one’s outer layers fall away…Kazmierowicztrimm’s investigation here is into truth-telling, hiding truth, and outright lying — and the consequences of all of the above. Once having seen his inquiry unfold, you may want to watch it again to see what you missed or overlooked.” – Mark Hein, Theatre Ghost

Having seen a few works by playwright Kerry Kazmierowicztrimm, I went into Gray People expecting fascinating, deeply troubled people in a heart-breaking situation.  He did not disappoint.” – David MacDowell Blue, Night-Tinted Glasses

“As grim as this scenario is, the playwright cleverly mixes in a hefty amount of comic relief…RECOMMENDED.” – Lovell Estell III, Stage Raw

“[GRAY PEOPLE is] an engrossing study of human behavior and a thoroughly enjoyable drama with the twists and turns of a great murder mystery.

                                                                              – Matt Ritchey, Gia on the Move

Conversation crackles like a thriller, but at the heart of this night rests the discovery that every person we meet reveals only a part of themselves to us.” Russell Eaton, My Haunt Life

Poster art by Brian Larios

Reviews for Fallen Saints: SALEM

“From the moment the play begins, the tension of the environment around Salem is palpable, and it only thickens and worsens as the narrative progresses…Kudos go to writer, Kerry Kazmierowicztrimm, and director, Sebastian Muñoz for orchestrating a masterful lesson on the persuasive and sometimes deadly fallibility of man." – Albert Lam, Westcoaster

“It’s a wild ride of a theatre experience that is sure to land right up the alley of those who enjoy period pieces a la The Witch, but always wanted those types of movies to feel a little more claustrophobic and personal.” – Tara Rose, Nightmarish Conjurings

“The show effectively satisfies the sweet tooth of Halloween fans looking for a spooky treat along with theater lovers looking to plunge into the deeper layers of human darkness."
                                                                  – Jessica Peralta, Halloween Every Night

“SALEM is dark, tense, and (not surprisingly) relatable in our current climate…we’re shown the truly terrifying consequences of combining desperation with fear of the unknown.” – Sara Kinne, The Haunt List

“SALEM tells a horrible tale in a very good way.” – Erik Blair, Haunting

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Poster art by Brian Larios

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“There is heart and humor in this tale…[The play] expands greatly on its original source material by layering a backstory and a personality to its dead, titular co-star, giving audiences reason to care and commiserate with his distress…TEIG O’KANE AND THE CORPSE reveals a unique and poignant truth about one’s legacy and memory—even as it may be worn away by the passage of time.” – Albert Lam, Westcoaster

“TEIG O’KANE AND THE CORPSE offers the genre-required chills and atmosphere, but most of all it is filled with pathos, provoking more tears than screams. It is one of Wicked Lit’s best efforts.”– Steve Biodrowski, Hollywood Gothique

“…this story of love, loss, and (sometimes literal) letting go benefits from the interjection of a bit of morbid physical comedy to highlight overall somber themes.” – Lisa Peters, Haunting

"Both men need to move on to the next level of their existence, and it is their journey together that makes this play an enticing and very up-close experience for the audience."

                                                                                        - Shari Barrett, Culver City News

"...an unforgettable night of smart and chilling theater." - Julie Riggott, Culture Spot LA

Flynn Platt & Kevin Dulude

Reviews & Mentions for Kerry's
Other Shows, Songs, Etc.

LILOM was one of my favorite parts of this year’s Wicked Lit as the story was engaging and elicited an array of emotions that included happiness, laughter, sadness, and hope.” – Shannon McGrew, Nightmarish Conjurings

“There is a witty sense of comedy to these scenes [in LILIOM]…that chart a dramatic arc to a final, fateful conclusion.”

                                                 – Steve Biodrowski, Hollywood Gothique

[In LILIOM,] we were invited into the lives of our deceased hosts as they attempted, with success, to keep spirits high while awaiting judgment.

                                                                  - Maxwell Robison, Medium

GIANTS IN THE SKY tells a gentle, simple story in a way that connects with both children and adults.” – Rick Brown, Kearney Hub

"I left the theatre feeling very happy and humming some of the songs. [GIANTS IN THE SKY is] a magical show indeed." - Anita Dawson, South Canterbury

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“[Kerry Kazmierowicztrimm and Eliza Randall’s song ‘Kenny Castaways’] is another appealing exercise in nostalgia, [with] an homage to rousing Irish music…You’ve got to love a song whose refrain pairs ‘Kenny’s Castaways’ with ‘at last a way.’” – Jonathan Mandell, New York Theater

Tosca Minotto, Alec Gaylord, Todd Andrew Ball & Jennifer Chun in LILIOM.

"Fortunately, for those theaters and other venues that want to put on anti-bullying plays, there is some great material out there. For instance, BEFORE THE BELL." 

                                                                            - Teddy Durgin, Access

Canvas Rebel Interview w/ Kerry

Kerry, thanks for taking the time to share your stories with us today Are you able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen?

I have been fortunate enough to make a full-time living from my creative work for the last two years. For several years before that, I earned about half my living through creative work, and the other half through part-time work as a dog-sitter, personal assistant, etc.

Early on, getting work as a writer came through a wide variety of avenues: answering an ad for a playwriting job on Playbill, getting referred by a friend, introducing myself to artistic directors, etc. My first gig as a video game writer—which is how I now make most of my living—came about, very tangentially, thanks to a show I wrote and produced at the Hollywood Fringe Festival back in 2018. Someone who came to see my play later described it to a director/producer friend of theirs at a pool party. That producer/director reached out to me and asked to option the script for a feature film. The film never got made, but that producer/director had optioned another script with a different director attached. That other script needed a rewrite, and I was recommended to rewrite it. Through that process, that film’s director became a big fan of my work. He has a background in writing and directing for video games, and when I said I was interested in working in that medium, he began to refer me for multiple projects, several of which I got to work on. I would not have the career I have now if it wasn’t for the play I produced at the Fringe Festival years earlier.

[For full interview, visit Canvas Rebel.]

© 2024 by Kerry Kazmierowicztrimm

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