like a phoenix rising from the ashes. or a zombie coming back from the dead. or jesus himself rising and ascending into heaven.


the deepest play ever: the catharsis of pathos has been chosen to be included in fringenyc encores. we will have 4 additional performances at the hypothetical theatre at the 14th street y in september:

the deepest play ever: the catharsis of pathos
the hypothetical theatre @ the 14th street y
344 east 14th street
new york, ny 10003

saturday september 9th @ 4pm and 9:30pm
monday sepetmber 11th @ 8:30pm
sunday september 17th @ 9:30pm

tickets go on sale FRIDAY, SEPTEMBER 1ST!!!


geoffrey decas wins outstanding playwrighting award.


on sunday evening the new york international fringe festival announced the winners of its overall excellence awards and we are thrilled that geoffrey decas was recognized for outstanding playwrighting for the deepest play ever: the catharsis of pathos.


it's your LAST CHANCE to see the deepest play ever!

tHiS iS iT!!

alas, all good things must come to an end, sometimes peacefully and naturally, other times forcibly and violently. what can we do? beat our chests and keen and offer sacrifices to the cruel fates and jealous gods who demand we finish our run at the village theatre on sunday afternoon? silly foolish mortals, of course we have already thought of this. but, alack, what great woe we suffer knowing it will all be in vain. the show closes on sunday. no amount of tears, mucous or blood can prevent it.

lest we actually take out a hammer and beat you repeatedly and brutally about your skull, let's just spell it out: SUNDAY IS YOUR LAST CHANCE TO SEE THE DEEPEST PLAY EVER SO GO BUY YOUR TICKETS NOW!

thank you. we look forward to sharing our final performance with you. it shall be momentous.

more praise for THE DEEPEST PLAY EVER...

LiKe a HiT oF hErOiN.

check out our review from time out new york:

"if you took the cambridge guide to world theater, threw it in a food processor, then sprayed it on an audience, the result might be something like the deepest play ever: the catharsis of pathos. a hilarious succotash of references to everything from the greeks and shakespeare to goethe and brecht, this postapocalyptic pseudo epic is a cheerful, unapologetic testament to the fact that western civilization is entering its decadent phase. like all ridiculous-style productions, geoffrey decas's lampoon is theater-lovers' theater; the noncongnoscenti might laugh, but also scratch their heads. for those in the know, it's like a hit of heroin." - trav s.d., time out ny


only 3 more chances to see the deepest play ever!

dOn'T mIsS oUt!!!

get your tickets now:
monday, august 21st @ 6:15pm
tuesday, august 22nd @ 3:45pm
sunday, august 27th @ 2:15pm

please arrive 15 minutes before the start of the show...there is no late seating!

our show is an hour and a half shorter than mother courage in the park...

tHe rEvIeWs ArE iN...

"forget MOTHER COURAGE. she's got nothin' on MOTHER LAMADRE!" - broadway.com

"...this smartly realized brechtian acid trip is a definite highlight of this years' fringe." - broadway.com

"the deepest play ever is overly ambitious, often hilarious, somewhat pretentious, and dynamically performed. in short, it's a perfect show for the new york international fringe festival." - theatremania.com

"ambitious, sprawling, scabrous, and bitingly funny, collaborationtown's take on mother courage plays like the biggest inside joke to hit the theatre since urinetown" - nytheatre.com

"collaborationtown's hilarious new project, the deepest play ever: the catharsis of pathos is a fringe must-see." - off off blogway


the deepest play ever opens TONIGHT!

iT hAs bEgUn.

zwounds! opening night is upon us...our metaphorical water has broken and we are ready to push this bloody screaming infant of a play out into the harsh, cruel world and slap it firmly on the ass as it gasps and chokes on its first breath. a midwife stands at the ready to cut the umbilical cord and clean up the afterbirth, lest we actors slip on it during performance, since it is absolutely impossible to emote and watch where one is going at the same time. and she knows that THE DEEPEST PLAY EVER, our baby, our pride and joy, the love child of so many poets and prophets that even the greeks and biblical scholars would be unable to pinpoint its precise lineage, had better not end up with an "outie" or she will be sacrificed during the curtain call. so please, for the love of god, someone give us an epidural and let's get this masterpiece birthed already!


the show THE VILLAGE VOICE & TIME OUT NEW YORK are talking about

OnLy 5 sHoWs! dOn'T mIsS iT!

time out new york & the village voice say you should see the deepest play ever: the catharsis of pathos. are you going to disobey them? you foolish, foolish human, god help you if you do.

get your tickets to see the deepest play ever now!

friday, august 11th @ 7:45pm
monday, august 14th @ 2:15pm
monday, august 21st @ 6:15pm
tuesday, august 22nd @ 3:45pm
sunday, august 27th @ 2:15pm

see our mention in the village voice and time out new york!!


exclusive interviews with three elusive prophets of the theatre

three prophets of theatre -- the playwright, director, and choregrapher of THE DEEPEST PLAY EVER -- gave exclusive interviews to american theatre magazine in preparation for the play's fringenyc premiere. these are elusive artists at best -- read their interviews before the interviewees revoke them!

iNtErViEw: tHe pLaYwRigHt

shakespeare, chekhov, ibsen, brecht, beckett, stoppard, albee, kushner, rapp - just a few of the master playwrights to precede the swarthy, stubbled enigma that is dramatist and recluse GEOFFREY DECAS. yet decas sites none of the above as influences. how is it, then, that he not only matches their talents, but surpasses them? we sat down with mr. decas to find out...

american theatre magazine: THE DEEPEST PLAY EVER is your first play?

geoffrey decas: um. correct. i was sort of a poet for years, though.

atm: what kind of poems did you write?

gd: epic ones, mostly.

atm: you've said that you didn't even write the play, that it was written without your knowledge. now-

gd: yeah...i didn't write the play.

atm: who did?

gd: no one.

atm: no one?

gd: zeus, i think?

atm: zeus?

gd: any of the olympians really. it was written divinely, as far as i can tell. through me. my poet self was feeling down, so i went to nepal, to north kathmandu, to meditate and purge. when i returned to new york i passed out for three days. then a vision of text appeared before me. being a poet, my desk is my temple. i pushed aside the sacrificial incense and oranges and began to scrawl. blindly.

atm: blindly?

gd: yeah, i barely looked down.

atm: how do you explain that?

gd: divine…intervention?

atm: it emerged unedited, though, i assume?

gd: actually it arrived as a perfect single-sided, bound final draft. then i threw up and was unconscious for two weeks.

atm: how did you name the main character, mother lamadre?

gd: we begin with a mother. and the first sound we make after being pushed out of a vagina is, “mmmm.” ma. mama. mere. mother. mom. mommy. mummy. mammy. matriarch. milk. tits. you know?

atm: i think so.

gd: sex.


gd: repression.

atm: okay.

gd: hatred.

atm: sure.

gd: matricide.

atm: so…THE DEEPEST PLAY EVER will be presented by the new york international fringe festival. why fringenyc?

gd: well, as another of my poet brothers once said, “the neon lights are bright on broadway.” ryan [purcell, director of THE DEEPEST PLAY EVER] said we should workshop here in nyc before bringing it to london, where he says i’ll probably be knighted.

atm: and you still live in nyc?

gd: i don’t really live anywhere. my father was cruel and my mother was a whore, so i ran away to Paris when i was twelve. i came of age in amsterdam, lost most of my virginity in cologne, and bought my wardrobe in reykjavik. nyc seemed a logical next stop. but you know, the silence of the new york literary scene can be deafening, which is why i moved to nepal. i was taken in by a tribe of Sherpas. they treated me as one of their own, renaming me mingma which means "tuesday" and teaching me the basics of mountaineering and buckwheat farming. but then…kismet reared its silvery head like a cripple’s cane. oh – i’m sorry – sometimes i forget and speak in poetry. anyway, my collaborators, director ryan purcell and choreographer boo killebrew, fell from the eastern skies. so i don’t live in new york, i…exist there for this one moment in time, in an artists' shanty under the manhattan bridge.

atm:how do you support yourself? what do you do for money?

gd: to depend on salary is to lean on a paper moon. do blossoms bloom without lucre?

atm:what does one need?

gd: a tarp. a copy of BEOWULF. some paraffin wax. and…genius.

iNtErViEw: tHe dIreCtOr

elia kazan, trevor nunn, robert wilson, julie taymor, moises kaufman, daniel sullivan, anne bogart – theatre artists with a vision who know what they want and how to get it and so call themselves “directors.” does director RYAN PURCELL admire their work? “i’ve never seen pieces by any of them. in fact, i’ve never seen theatre made by anyone but myself. some call it arrogance. i call it purism.” we sat mr. purcell down for a game of 20 (or so) questions…

american theatre magazine: where are you from?

ryan purcell: beverly hills. there’s no such thing as luck, only superb taste in real estate.

atm: when did you know you wanted to be a director?

rp: does a rainbow ask to be born? 'want' implies choice. my hands are bound, my mouth gagged, my nipples clamped.

atm: can you pinpoint an exact moment when you first thought, "yes – NOW I am a director"?

rp: the womb.

atm: now, your education –

rp: i am extensively educated.

atm: some say over-educated…

rp: the undereducated would.

atm: tell me about your studies.

rp: graduated privatized arts high school at 14 – a bit earlier than most – skipped undergrad –entered cal arts mfa program.

atm: which is nearly impossible to get into…and at 14!

rp: "only the impossible is worth the effort." aristotle. but I grew bored and wanted to study in moscow. i was accepted sans interview to the american repertory theatre institute,but βορεδ τηερε τοο, ανδ ϖοδκα ισν∍τ ρεαλλψ μψ δρινκ.

atm: what?

rp: i was bored there too, and vodka isn't really my drink. so i finally said 'yes' to columbia's begging...

atm: you studied with the acclaimed anne bogart? how did you find that?

rp: tiresome.

atm: oh. then?

rp: my back-up plan: yale. yalies are at least capable of holding a conversation. so i am thankful for yale – and yale is thankful for me.

atm: and when did you meet your collaborative partner (both on and offstage) and THE DEEPEST PLAY EVER choreographer, boo killebrew?

rp: fascinating story: in between cal arts and a.r.t., i traveled off the beaten path, taking a southern route to see how the other half lives. little did i know, i'd also find out how the other half loves.

atm: awwww.

rp: so i hitchhiked through the mississippi delta in blackface. i was juggling, pretending to panhandle outside a chick-fil-a when i saw the sweetly naïve mug of boo killebrew. god…she was so innocent then. she immediately recruited me into the homeless interpretive dance initiative of the united states, or HIDIUS, which she organized in the mall's courtyard. then her break was over so she took off her jazz sneakers, and went back into the chick-fil-a.

atm: did you stay with HIDIUS?

rp: we did groundbreaking pieces in the mall's fountain. the only downside was the homeless men's inability to dance, or even stand. but, "teach a man to fish…" you know. karl marx. finally i wiped off my minstrel brown greasepaint and came clean to boo as to my true identity. this inspired our first collaboration, GUESS WHO'S COMING TO DINNER IN BLACKFACE?

atm: then you and ms. killebrew founded PRRAAPP, the pre-revolutionary research and analysis performance project. how would you describe PRRAAPP's work?

rp: as…indescribable. then we went parachuting, and the rest is fringenyc history. or will be. in the future. history.

atm: and your proudest achievement to date?

rp: though boo would probably say it’s our relationship – i'd have to say my proudest achievement is myself. "you'll never share real love until you love yourself." jon larson.

atm: are you excited to work on a script as powerful as THE DEEPEST PLAY EVER?

rp: when one finds a script so full of meaning that it nearly inverts itself and is meaningless – that's like seeing the face of god herself.

iNtErViEw: tHe cHoReOgRaPhEr

isadora duncan, martha graham, martha clarke, twyla tharp, pina bausch – just a few of the master choreographers noted danseuse BOO KILLEBREW says she respects – but doesn’t fear. “these women’s talents are limitless, but i am not jealous. threatened? HA. besides, most of them are dead.” we sat down with ms. killebrew to discuss her process, parachuting, and collaborating with a significant other…

american theatre magazine: i’m eager to hear about your process and your work on THE DEEPEST PLAY EVER. but first, i have to ask: what’s with this parachute business?

boo killebrew: you mean how we came to meet mr. decas, parachuting over nepal?

atm: yes.

bk: did mr. decas call it “kismet”?

atm: yes.

bk: it wasn’t kismet. it was blind…fucking…luck.

atm: oh…

bk: or bad fucking luck, depending on how the show turns out, aye?

atm: well, surely in mr. purcell’s capable hands –

bk: did mr. purcell lead you to believe he’s capable?

atm: yes.

bk: fascinating. it was a string of FLOPS that made us plunge ourselves from that plane, so if by “capable” you mean capable of directing a string of FLOPS, then yes, he’s highly skilled.

atm: flops?

bk: FLOPS. Not commercially – our PPRRAAPP shows actually made money – but artistically…well…you know what “PPRRAAPP” rhymes with, don’t you? CRAP. it rhymes with “CRAP.”

atm: oh.

bk: so i said, “ryan, we need a ritual cleansing of our artistic souls. a ritual involving risk. a ritual involving life-and-death stakes. a ritual involving jumping out of an airplane.” need i say more?

atm: no.

bk: good. words are the enemy.

atm: mr. purcell also told us about how you met at chik-fil-a –

bk: did he tell you that i was born into poverty in an artist-less world of domestic abuse and decorative lawn sculptures and that it is a miracle that i have become what i have become?

atm: no.

bk: good. it’s my story to tell. long story short, i was born into poverty in an artist-less world of domestic abuse and decorative lawn sculptures and it is a miracle that i have become what i have become.

atm: mr. purcell also speculated that you might consider your relationship with him to be your proudest achievement to date. is this true?

mr. purcell would indeed like to believe that he comes before the art of my dance, yet it is not so. am I proud that we are able to have an open-love cohabitation agreement after being married and divorced, and then married again and then divorced again? yes. but a man come before tempo, gesture, isolation? the grinding of his thorny pestle into my vulnerable, velvety mortar come before grande battements? i think not.

atm: i see. i see.

bk: did mr. purcell also tell you that he’s bisexual?

atm: no…no…

bk: good. he’s not. [at this point in the interview, ms. killebrew threw herself against a wall]

atm: ms. killebrew? are you all right?

bk: that is one of my signature gestures.

atm: describe your process…

bk: i plan NOTHING. i drink a mixture of apple cider vinegar and dirt, slap myself thirteen times, open my divine channel, and begin moving.