NYTHEATRE's People of the Year 2011: 
"Nat Cassidy is an actor, director, and playwright of surprising range and depth."

MARY: AN AWAKENING OF TERROR

A horror novel published by Tor Nightfire, July 2022

  • “Razor-sharp horror debut.... Cassidy expertly twists the invisibility and disposability of society’s most vulnerable into qualities ideally suited to a terrifying avenging angel. It’s as scary as it is smart.”
    ― Publishers Weekly

  • “This tale of horror is a good read-alike for Stephen King’s Carrie and Paul Tremblay’s A Head Full of Ghosts.”
    ― Booklist

  • "A serial killer story with a monstrous twist [by an] emerging genre star."
    ― Library Journal

  • "Perfect for summer reading"
    ― USA Today
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  • “Who doesn’t want to read the book equivalent of vampire Kathy Bates killing some hipsters in the fifth season of American Horror Story? Middle-aged women’s rage is in this year, and I couldn’t be happier.”
    ― CrimeReads, Most Anticipated Crime Books 2022

  • “An immersive story with vivid environments and vibrant characters. The imagery his writing evokes still has me obsessed ... All I can say is, it has haunted me since I read it, and I may have to re-read it again soon. ... I would classify this as a serial killer horror with a touch of paranormal, so if you liked The Silence of the Lambs and My Sister, The Serial Killer but also enjoyed The Changeling, you would love this one. 5/5 stars. My favorite so far this year.”
    ― Horrorble Books

  • “Aunt Nadine was given some of the best lines I’ve read in a book. In fact, this book was filled with things I wanted to write down to share – author Nat Cassidy is a master of dialogue. ... I LOVE books with depth and Cassidy writes with depth. ... Having grown up as a reader of King, Saul, Koontz, Jackson and having escaped deep into stories my whole life, I hope I live long enough to see where Cassidy’s extraordinary ability to tell a story goes.” 
    ― Eyes and Ears Books

  • “Searing imagery. Immediate chills. ... Destined to be a classic.”
    ― Rachel Harrison, author of Cackle and The Return

  • “Gripping from the start. What begins in a bloodbath leads us through decades into a nightmare of cults, ghosts, and self-hatred, where great and terrible expectations await. Mary is a devastating threat made manifest.”
    ― Hailey Piper, Bram Stoker Award-winning author of Queen of Teeth

  • “Genuinely scary, and at times both heartfelt and heartbreaking, Mary is a powerhouse of a horror novel, with something important to say. We need more like this. Standing ovation!”
    ― Brian Keene, World Horror Convention Grand Master and two-time Bram Stoker Award-winning author of The Rising and Terminal

  • “Nat Cassidy’s Mary is a bravura journey into horror, cults, and the estrangement of middle age. It’s one BANANAS ride, by a very talented writer.”
    ― Sarah Langan, three-time Bram Stoker Award-winning author of Good Neighbors, and The Missing

  • “Every bit as brilliant as everyone's saying: a gory, body horror-soaked exploration of menopause, cults, self-worth, & true crime junkies. I can't recommend this book enough - even the afterword is revelatory.”
    ― Ally Wilkes, author of All the White Spaces

  • “Congrats on a loud and bloody Mary. She's going to make herself heard and then some.”
    ― Kathe Koja, Bram Stoker Award-winning author of The Cipher and Velocities 

  • "Operatic and tremendously unsettling, there's a dangerous current churning beneath the pages . . . a current that will carry you far away and forever change you the way all excellent books do. This is first class horror."
    ― Eric LaRocca, Bram Stoker Award-nominated author of Things Have Gotten Worse Since We Last Spoke

  • "Cassidy has given us a classic horror novel of a middle-aged woman tormented by all the little-town horrors of her past―those she can remember and those she is forced to remember. Who is Mary, or better yet, what is Mary? She has been called home to find out."
    ― Elizabeth Engstrom, author of When Darkness Loves Us

  • "A collision of supernatural and real-life horrors, Nat Cassidy's Mary throbs with a relentlessly sinister energy. Packed with visceral shocks and quiet menace, breakneck storytelling and profound character work, Mary is absolutely riveting. I can't recommend it highly enough."
    ― Jonathan Janz, author of The Siren and the Specter and The Raven

  • “Mary, Mary, quite extraordinary… How does your novel grow? With pillow cases hiding sliced off faces, and porcelain dolls all in a row. With an acidic sense of humor more barbed than any cactus, Nat Cassidy’s fast-paced Mary is a perfect blend of Stephen King’s Dolores Claiborne and Frank De Filitta’s Audrey Rose. This book goes out to all those bad seeds who have gone beyond their bloom and entered the twilight of their murderous lives.”
    ― Clay McLeod Chapman, author of The Remaking and Whisper Down the Lane

  • “Just finished Mary: An Awakening of Terror by Nat Cassidy & WOW! The horror arrives like a monsoon thunderstorm: ominous page 1 rumbles that build to a frenzied, spectacular conclusion that'll leave you awestruck & trembling. Smart, scary & full of heart, Mary is a force of nature!”
    ― KC Jones, author of Black Tide
​

STEAL THE STARS

A novelization by Nat Cassidy, based on the podcast by Mac Rogers
Published by Tor/Macmillan, November 2017

Named one of the Best New Books of November 2017 by the Chicago Review of Books!
Named one of NPR Books' Great Reads of 2017!
Named one of Kirkus Reviews' New and Notable Books in Science Fiction, Fantasy & Horror!
Named one of The Verge's 16 Science Fiction and Fantasy Books to Read this November!
  • "Cassidy does a brilliant job of adapting the podcast's scalpel-sharp pacing, heartbreaking characters and flawless execution of a fascinating premise into a new format."
    - Amal El-Mohtar, NPR's Best Books of 2017
    ​
  • "Steal the Stars is a heady brew of science fiction, forbidden love, and a suicidal heist, set in a dystopian world all too like our own. As the suspense builds to a fever pitch, it is impossible to stop listening—and now, to stop turning pages. ... [T]his collaborative artform is pushing the boundaries of storytelling."
    ​- Ilana Teitelbaum, Huffington Post

  • "Recommended for sf fans who enjoy stories in which the protagonists fight against seemingly impossible odds and/or readers who appreciate upside-down plot twists."
    ​- LibraryJournal

  • "Debut novelist Nat Cassidy has adapted this exceptional noir science fiction thriller and expanded upon it to create this novelization. It's about a government agency tasked with hiding the existence of a crashed UFO, its gray alien pilot, and the advanced technology which is now being studied. Keeping such a big secret is hard enough, but when Matt Salem joins Dakota Prentiss' security team, it's love at first sight. Unfortunately, their contracts forbid employee fraternization of any kind. They are thus faced with a choice: ignore their love or cut loose and run. Luckily for the reader, they choose the latter. But being on the run means they will be hunted because of what they know, so they devise a heist to steal the alien and sell off the secret. That's when the fun really begins."
    - John DeNardo, Kirkus Reviews' New and Notable Books in Science Fiction, Fantasy & Horror

  • "This book isn’t a script that’s been polished up as a cash-grab to get reluctant audio listeners to buy the story; it’s a full-on novelization that stands on its own."
    - Andrew Liptak, The Verge, "16 science fiction and fantasy books to read this November"

  • "Steal the Stars is primarily a science fiction love story between two characters, Dakota and Matthew, but it feels like an epic novel as the story takes on some crazy plot turns."
    - Black Girl Nerds

  • "[A] curious mix of romance, science fiction, and political thriller, set in the context of a heist story. It deftly manages most of these elements but also delights in defying the reader’s expectations. ... [A] great read  ... The book’s main character is its greatest triumph. ... [Dak] is a flawed but thoroughly relatable woman who we cannot help but root for, even when she makes entirely terrible decisions. ... The alien-related parts feel like honest-to-goodness old school science fiction-speculative, weird and wonderful. The dystopian elements of the story feel at once foreign yet eerily familiar to anyone who just finished the joyride that was 2017. But the best element of the book is unquestionably the tragically doomed quest of Dak and Matt to avoid discovery of their trysts. This fool’s errand sees the star-crossed (pun fully intended) lovers betraying friends and colleagues, flirting with mortal danger, and in the end, trying to drive a van full of space artifacts across international borders. And yes, reading the details of this madness is every bit as fun as it sounds. And as for the book’s conclusion, there isn’t much to say without spoiling. I thought it was crazy as hell and I loved it. Some people will undoubtedly feel the opposite. The buzz phrase of the day regarding TV and film seems to be 'it subverts your expectations.' Steal the Stars doesn’t just subvert your expectations. It throws them in a dumpster, sets them on fire, and then does a touchdown celebration dance on their ashes. Whether this ending works for you or not, I’d suggest that the journey to get there is well worth it. ... Regardless, it is a unique story told with humour and excitement. It is a page-turner in the truest sense. And Cassidy has done some wonderful work building a believable but nonetheless terrifying near-future world for the characters to inhabit."
    - Matthew McCarthy, Geekly Inc.

  • "Nat Cassidy has done a fantastic job adapting Steal the Stars into a novel that can stand alone on its own merits, apart from the need to have any prior knowledge of or experience with the original podcast. ... One instantly noticeable difference from the podcast is the novel’s change to full first-person narration. ... From the beginning, Dak’s narration to Matt does a better job of building tension and suspense while foreshadowing the inevitability of an M. Night Shyamalan twist. It’s an interesting choice that I really enjoyed. ... Steal the Stars is a gripping page-turner that builds around the basic elements of a great work of science fiction but ... tell[s] a more intimate and grounded story with tones and themes that are quite unique for the genre."
    - Matt Litten, VGBlogger

  • "Wow. I think my heart rate has come down enough to review this now. This was fantastic. The premise and key story elements alone are great. A Bonnie and Clyde love story. A secret military facility. A 20-minutes-into the future overly-corporatized America. A real Area 51 complete with alien. But it’s the intrigue and pacing layered over the top of these that really lifts this story into five-star range. Steal the Stars is a story in two parts. Where the first part is interesting, with lots of questions and world building, the second half hares off into the desert and over a cliff.  ... I loved both parts equally and I was surprised at how nicely both story elements synced up in the one narrative. ... Cassidy has done an excellent job with the novelisation. The prose style retains the feel of Dak’s narrative voice in the podcast, while providing the description and background information required for transitioning the work to text. I found in some ways the text was more comprehensive, and more clearly conveyed some actions and world building elements which were less clear in audio cues or weren’t able to be included in the podcast due to space. It would have been easy to go bare-bones on the additional information and fleshing out in the novel and stick to just what was required to convert the story to a text version of the podcast. But I was pleasantly surprised at how much additional material Cassidy slipped in without losing the tone, pacing and sequence of the podcast. Special shout out specifically to how well Cassidy worked in ‘Dak-style’ metaphors and similes. Dak herself is a different strong, female protagonist which I appreciated. Middle aged. Stocky. Physically competent. Practical. Her trajectory and character arc over the course of the story is fascinating to watch. It’s internally consistent and yet quite extreme. Each step of the way felt inevitable, but in a way that felt driven by Dak’s choices and as if it could never have gone any other way. Particularly the second half had this increasing tension and pace to it that felt like it was hurtling headlong into a doom with only a slim chance of survival and the window just kept getting narrower the further you went. The romance and chemistry between Dak and Matt was intense and well-depicted. This wasn’t a slow burn or a coy young love. This is two consenting adults in one of those once-in-a-lifetime crazy chemistry encounters. ... Whatever format you check this out in, Steal the Stars is a worth experiencing. It’s different to a lot of other scifi out at the moment. It’s punchy and fast. The style and tone are unique and vibrant, and it’ll leave you wanting to rant and debrief with your friends."
    - Chaptersinflux.com

  • "[B]ased on the podcast everyone is currently talking about ... What strikes me immediately about this is the sense of self of Dak (Dakota) – the novel is written in a very personal view which helps, but her attitude and thought patterns shine through. It’s written with stark honesty, which, in a place of secrecy is a weird justification that makes for writing you simply can’t put down. ... Excellent. I’m hooked. ... [I]t gets real pretty quickly. I won’t say much more because 1. Spoilers, and 2. I’m still reading and don’t want to waste any more time here. Let’s just say this book gets the full five stars, and I’ll be listening to the podcast tonight. Coz I’ll certainly be done with the book by then."
    - VENTUREADLAXRE.com

  • "Steal the Stars pulls bits and pieces of sci-fi from all angles to create a compelling read that will keep you onboard for all of its 416 pages. ... [T]he punchy dialogue and believable blend of military and corporate setting make it easy to understand why the podcast the novel is based on was a success. Nice twists, an interesting setting, and its ability to draw from several genre tropes will make Steal the Stars a fun read for sci-fi readers.
    ​- C.J. Bunce, Borg.com

  • "Steal the Stars functions perfectly well on its own, telling a gripping, standalone story that will keep you interested right up until the end. The story’s ending is going to disappoint some people, while thrilling others with its willingness to upend readers’ expectations. ... We spend a lot of time with these ... characters, which means that it matters when one of them betrays a coworker or basically has their mind wiped by the strange alien artifact no one really knows how to control. The actual sci-fi stuff is equally engrossing."
    - Lacy Baugher, FanSided

  • "Steal the Stars is changing the game with this full podcast novelization. ... Honestly, if you ask me, this story works a lot better as a novel that it did as an audio drama. The extra descriptions are helpful when dealing with a sometimes technical and literally alien story. ... The book has Dak telling the entire story to 'you' — who happens to be the other main character, Matt Salem, who she falls madly in love with at first sight. It’s a little disorienting, though I will admit that it really pays off at the very end when realize why she’s telling the story in this manner. ... [A]mazing ... Dak’s whole desperate attempt to steal the body and secure a future for her and Matt was compelling. ... [T]he end is great. There’s a twist that you won’t see coming and it helps redeem the whole story. It even gives some justification for Dak’s short-sighted obsession with Matt Salem. It’s such a good ending that I almost wish it wasn’t actually the ending and that the story continued on at least a little bit afterward. But, I’ll concede it’s probably more a meaningful ending. ...  Mac Rogers created a really great world in his original podcast and Cassidy does a really good job of putting it all down on page."
    - Sam Wildman, Nerdophiles

  • "[FOUR STARS] At times [the novelization] is pretty identical to the podcast itself, but there are also these really great similes that I don't remember being in the podcast. I think Cassidy did a really good job of giving us more insight into the characters. ... [T]he novel also give us a little more background on the Sierra Corporation ... It really hammers in why Sierra is the worst! ... I enjoyed [this book] a lot, and if you like subtle dystopia and military sci-fi I highly recommend it!"
    - Deanna Reads Books

  • "[W]hen I was offered the chance to read Steal the Stars I didn’t hesitate ... Fantastic storyline and remarkable world-building with just the right amount of romance tucked into a thrilling adventure. The characters are well fleshed out ... [I] will certainly recommend the book to all fans of Science Fiction. Just be ready for the ending because… WOW! I can’t get into details, of course. You’ll have to read the book to learn what I’m referring to… and trust me, you want to find out!"
    - My Book Addiction

  • "I am not a huge sci fi fan in reading but sometimes a book comes along and makes me change my mind and this book did just that. So now I want to read more books on aliens. However this one is done a little different as it's based off a podcast which I want to listen to since reading this book. While I was reading this book all I kept thinking about is Area 51 and X-files. This book has a lot of things going for it and it definitely drew me in from the start. 4/5 Bloody Fangs"
    - Sabrina's Paranormal Palace

  • "[A] nonstop careening mess of action, dialogue and suspense. ... [An] excellent novel ... Sci-Fi and Thriller lovers will want to read this book. ... Steal the Stars Steals Hearts."
    - Michael Blaker, Game Industry News

  • "Steal the Stars is a fast-paced, thrilling read that doesn’t slow down. The characters are fun and the story is very exciting and dramatic. With the suspense building to a surprising finale – this is an unforgettable novel."
    - SciFiChick.com

  • "Dak won me over right away ... Very suspenseful reading. And the ending isn’t anything I was prepared for ... Great science fiction and now I must listen to the podcasts. 4 Stars."
    - Laura Thomas, FUONLYKNEW.com

  • "Steal the Stars is a real adventure ride right from the very beginning ... I loved the characters ... [S]uperb... The pacing in this book was absolutely perfect. ... [T]he book and the podcast compliment each other so nicely."
    - Here's to Happy Endings

  • "First of all, the concept of this book is more than fascinating and I feel like it's worth reading just because of its uniqueness and authenticity.  ... Based on how he's portrayed through Dak's eyes, [Matt] appears to be the perfect man but, he has a lot of demons to deal with on his own. Which makes their relationship very interesting to read about. Their romance was very intense and well written, as was their chemistry. It definitely felt like one of those once in a lifetime experiences that you don't come across that often in life! And they definitely delivered! ... I feel like [the narrative voice is] one of the most important parts of the story and something that readers will definitely appreciate! It's the combination of the first and second POV, which I personally haven't encountered in a while. Dak is the narrator of the story and actually addresses Matt as 'you' ...  It is an intimate way of telling a story, which not a lot of authors can see through successfully. ... [T]he ending blew me away in the best and worst way possible. It really messed with my mind and my entire being which means that, it was perfect! I'm still not sure what happened and how it happened, which is something I've never encountered before.  ... [I]t really surprised me, both in a good and a bad way, that I still need a couple of days to process everything that happened. Overall, Steal the Stars is definitely a book worth reading because of its very different way of narration and development!"
    - Book Lady's Reviews

  • "While the Podcast by Mac Rogers explored the ideas of obsession, lust, of jealousy and the secrets humans are expected to keep, Nat Cassidy’s adaptation travels deeper into the landscape of human emotion. ... [O]n the page, with Nat Cassidy’s adaptation, I could actually feel the love.  She falls in love with Matt, every word that Nat writes, is a word that takes a step towards her damnation. ​There are moments that work as reflections of one another, there are moments in the novel that are better than the podcast and vice versa, but they both stand alone as unique pieces of work and of genius, living in the same universe but feeling, reading, and claiming ownership of their mediums in ways I couldn’t have anticipated. ... Nat Cassidy has matched [the podcast's] performances by including details, taking risks, and truly thinking about how to honor Mac’s universe while building a home for himself in it that you’d want to visit again and again. There is a haunting interlude that may just be the best two pages I have read in a novel in a very long time. While I was at the edge of my seat, waiting week to week for the podcast with the expressed need of an addict, I had a completely different reaction to Mr. Cassidy’s achievement, every page I turned made gave me anxiety, because there came a point where there were less pages in front of me than behind me, and I just didn’t want the story to come to an end. ... [T]here are real consequences to love and to lust, and both Steal the Stars the novel and the podcast lean into those consequences with a certain abandon that leaves you breathless."
    ​- Monsterrat Mendez, Mozzie Confidential

THE TEMPLE, or, LEBENSRAUM

Written and directed by Nat Cassidy
February 2015, Tin Drum Productions with Mozzlestead Productions, The Brick Theater
  • "Cassidy and his top-notch team have translated [Lovecraft's] story’s scant 5000 or so words into a full-length, fully immersive experience. ... [W]hat a singular monster [Heinrich] is ... The first act handles the setup of all this information masterfully and quickly. ... Incredibly brave and patient ... [A] genuinely magnificent piece of theater. Watching a talented artist like Cassidy deconstruct and then reconstruct the source code of Lovecraft’s story and style is a helluva thing to see. ... Like the characters in the play, you are completely submerged in the events of the play, and when THE TEMPLE OR LEBENSRAUM wants to it strikes its audience like a perfectly aimed torpedo. It’s one of those rare creatures of indie theater where the production, the performances, the material, and the design tangle their tentacles together into a monstrously entertaining whole."
    - Mitch Montgomery, Surreal Time Press
    
  • "Death is the undiscovered country, and THE TEMPLE is an expedition to map the unseeable. ...The men (played by a remarkable ensemble as weary, weathered lost souls too discordantly perfect to single anyone out) operate like the guts of the machine they inhabit, armored and smothered like the paranoid Third Reich, acting as one but fraying into squabbles and accusations and brawling like the gears of a clock grinding into immobility, periodically speaking in unison or sounding recurrent thematic refrains in Nat Cassidy’s intricate script, a kind of funerary chorale. ... The ship’s doomed mission and pointless cause are made plain, while nothing is simple about the enormity of the destruction these men are part of ... And as Heinrich, Matthew Trumbull gives a performance of titanic existential dissonance, at once bemused and recriminating, as he channels but does not explain the ghastly absurdity around him. ... [B]rilliantly enforces the claustrophobia, placing the audience around the stage area’s corridor-like space to mimic the Jonah’s-whale ship interior, seating us like juries over the action and under each other’s scrutiny. Morgan Zipf-Meister’s lighting shapes the space and paces the ordeal in a catastrophic choreography, as failing lanterns strobe manically or emergency lamps wane like breathless candles. ... [T]he play ends on a masterful note of narrative suspension you should witness for yourself, it’s clear, and inescapable, and maybe even reassuring, that there’s always a longer way down."
    - Adam McGovern, Fanchild

  • "This tense, literally breathtaking situation is the stuff of a story by 20th century visionary H.P. Lovecraft and of an even better dramatization by Nat Cassidy. ... THE TEMPLE OR LEBENSRAUM will bring you on [a] terrifying, liberating adventure. ... Most amazing ... scares everyone to death ... Effortlessly universal in the way ALL QUIET ON THE WESTERN FRONT tries to be, Nat Cassidy’s writing and direction gently delve into the question of “why” we do things. ... There is something very human about taking care of your own, and there will be some very difficult choices for the crew to make about who gets to breathe the precious U-Boot air. The Lovecraftian influence comes at certain times, definitely making me vow never to join the navy, but THE TEMPLE is a mostly non-supernatural drama that will appeal to anyone. We’re all human. Right?"
    - Ed Malin, NYTheaternow

  • "Nat Cassidy's adaptation of Lovecraft's THE TEMPLE is such a delight.  Well, as much of a delight as anything involving mutilation, suffocation, cannibalism, Nazis and the elder gods can be.  Cassidy is a strong storyteller; one who fully appreciates just how powerful the combination of excellent actors, fraught situations, and an audience's imagination can be. ... Cassidy knows that the real drama comes, not from any monsters, but from the relationships between the characters, especially in how they react to the Nazi officer in their midst.  ... Watching the character go from a bumbling PR man to a psychotic killer is amazing.  ... I should also point out that one of my favorite moments of the play was during a scene where the men were running out of air.  The actors were arranged on the floor trying to breathe.  No dialogue.  Just breathing.  The amazing thing is that the audience was rapt the entire time. ...  There were a number of times where I started to feel claustrophobic. In addition to being an excellent playwright, Cassidy is a strong director, creating a taut, well-paced drama. Unfortunately, THE TEMPLE, or, LEBENSRAUM ends its nearly sold-out run tonight.  I have no doubt it will make another appearance in the future."
    - Byrne Harrison, Stagebuzz

  • "Disturbing ... Fascinating ... I admired this greatly."
    - Eva Heinemann, Hi Drama

  • "A horrorshow of the claustrophobic lives of German submariners and the evil that consumes them ... [A] living, breathing, immersive spectacle. ... Make[s] the horror of the sea, of WWII, and of the Lovecraftian-influenced Gnostic psychodrama all too real.  ... [Heinrich is] one of the most chilling displays of inhumanity that I’ve ever seen onstage.  He is a true devil, in the most Christian sense of the word, all charm and bonhomie, doing nothing more than opening the door to horrors that the regular men of the ship seem all-to-easily able to commit."
    - Michael Niederman, New York Theater Review

  • "Successfully erasing 'the fourth wall' between the actors and the audience, Nat Cassidy, the author and director of THE TEMPLE, or, LEBENSRAUM turns the stage of The Brick, a small Williamsburg theater, into a World War II German submarine. While the characters dive into the depths, the viewers immerse themselves into the play, sharing the sailors’ nightmares and fears. One cannot help but shudder when the lights suddenly go off, and the sounds of torpedoes pierce the air. All of these features create the impression that there is no escape from the experience. Even the funny intermission announcement that everyone is expected back on board in 10 minutes is only a short gulp of fresh ocean air before the boat submerges again. ... The sailors’ tired and smutty faces stare right at the viewers, as though reproaching them for not helping to move the vessel forward. ... Tortured by both real and psychological dangers, the sailors nevertheless preserve their sense of humor ...  reminding us that even in the worst of times there’s always something to smile about. ... Although THE TEMPLE has a specific political context, even those who do not know a lot about German history will enjoy the play. It is not only the story of Nazi Germany; it is also the story of soldiers, protecting their country and of individuals willing to survive in the face of grave danger. In addition, the setting and sounds draw us into the play, compelling us to relate to the sailors and make their thoughts and nightmares our own. Not every day can we find ourselves on a submarine, and neither can we expect such total immersion from every theater performance. This alone makes Cassidy’s show memorable, engaging and worth our time and attention."
    - Ekaterina Lalo, Reviewfix 

  • "Does an effective job of imparting the mundane horrors of life on board a submarine. ... Lovecraft fans will be happy to see one of his lesser stories brought to life, but the weird science themes are just there for flavor. The true goal of the show is to explore the lives of men who fought for the wrong side of a war. THE TEMPLE OR LEBENSRAUM does this admirably."
    - Charles Battersby, Theater for Nerds

BLOOD BROTHERS PRESENT... BEDLAM NIGHTMARES

A multi-episode horror anthology event, told over the course of an entire year. Includes horror plays written by Nat Cassidy, Mac Rogers, and Mariah MacCarthy.
Directed by Pete Boisvert, Patrick Shearer, and Stephanie Cox-Williams

Episode One: Strapped In
February 2014, The Brick Theatre
  • "The Blood Brothers are back, from wherever they came from — which is old news reports on clown-faced serial killers, and nostalgia sites for the haunted-house hosts of vintage horror movies repackaged for pre-cable TV. They are the compelling community-guignol stage characters of Pete Boisvert and Patrick Shearer, participant observers to the morality-tale inhumanity which is epidemic in our species and of which the Blood Brothers are just the fright-makeupped mascots.  ... [T]he evening’s standout segment [is] “Into The Life of Things” by Nat Cassidy. Cassidy has a stereophonic ear for both the insider’s delusion and the outsider’s confusion (each of which will be duly punished) at a wilderness yoga retreat, where supernatural complications ensue which will land one lucky disciple in the Blood Brothers’ new place of residence. As a believer sworn to silence, Stephanie Willing enacts a sublime kinetic narrative of danced and gestured expression (and embodies just as pristine pretension when her character breaks the vow), while Matthew Trumbull as her doubting husband paces out of his yoga-pretzels with a positively Chaplinesque totter, his expression set in a world-exhausted facial drawl worthy of Keaton — more of the Brothers’ history-repeated-as-not-so-funny — and August Schulenburg is tragic and hilarious as a guru spouting Cassidy’s gourmet psychobabble." 
    - Adam McGovern, Fanchild

  • "The evening features some amazing writing from Blood Brother stalwarts Nat Cassidy and Mac Rogers, as well as some strong directing from Pete Boisvert, Patrick Shearer and Stephanie Cox-Williams.   ...  Nasty, horrifying, and so incredibly well done. ... The surprise of the evening was Cassidy's "Into the Life of Things," about the yoga retreat.  A young couple (Matthew Trumbull and Stephanie Willing) falls under the spell of a charismatic leader (August Schulenberg).  Throw in some food deprivation, a touch of psychic ability, and a possible love triangle and the retreat takes a homicidal turn.  This was a strong, well-structured story with an unexpected paranormal twist, and it worked nicely into the main Blood Brothers/asylum story.  This was longer than the typical short play included in a Blood Brothers show, which provided a nice balance to Rogers' and Cassidy's other short pieces.  I'm happy to see that some of the evening's pieces will be continued in the current episode of Bedlam Nightmares. I can't wait to see where this series goes."
    - Byrne Harrison, StageBuzz

Episode Two: Shock Treatments
May 2014, The Brick Theatre
  • "Scary theater just indicates someone is going to use psychology to push us out of our comfort zones, doesn’t it?  I knew this when I sat in the front row at The Brick, a place known for innovative performance, and put on the spatter-preventing poncho.  Even armed with this knowledge, and being acquainted with the work of playwrights Nat Cassidy, Mariah MacCarthy, and Mac Rogers, I still learned something new at this installment of Blood Brothers Present Bedlam Nightmares Part Two: Shock Treatments."
     - Ed Malin, nytheatrenow

  • "I don't want to give out any spoilers.  So I'll just say this.  The show is well-written.  It is bloody.  And it is full of the stuff that will give you nightmares."
    - Byrne Harrison, StageBuzz

Episode Three: Losing Patients
August 2014, The Brick Theatre
  • "The evening begins with an outstanding solo piece by Nat Cassidy (who often appears as a ghoulish troubadour in the Blood Brothers shows).  Directed by Patrick Shearer, "Who's There" features the talented Rebecca Comtois as a cop from a previous installment of the show, who is trapped in an abandoned area of the hospital, wandering through the halls with only her walkie-talkie to connect her with a partner who may or may not be there.  Comtois is a consistently strong actor, and she shines this creepy and claustrophobic piece."
    - Byrne Harrison, StageBuzz

Episode Four: Execution Day
October 2014, The Brick Theatre
  • "I've seen some horrific things at the Blood Brothers' shows -- eyelids ripped off, skin peeled, human flesh consumed, rape and incest, and more forms of murder than you can shake a stick at. But when the lights went down after Nat Cassidy's short play THE ART OF WHAT YOU WANT, my first reaction was to lean over and whisper to the person sitting next to me, 'THAT was fucked up.' Nat Cassidy's play ... is easily one of the creepiest of I've ever seen. ... Featuring the best (and most upsetting) surprise ending I've seen in a while, THE ART OF WHAT YOU WANT sets a very high bar. ... ALL IN GOOD FUN, which features Cassidy on guitar as The Troubadour, completes his song cycle which has been slowly teased out in the earlier episodes ... Cassidy is mesmerizing, and the piece, directed by Patrick Shearer, features some marvelous theatrical devices - shadow puppetry, moving sets (used to show someone running), projections, mime - and like THE ART OF WHAT YOU WANT, a terrific surprise ending. Not to mention that the song features some catchy hooks that will immediately plant themselves in your brain. I'm still hearing sections of it in my head a week later."
    - StageBuzz

  • "Cassidy’s THE ART OF WHAT YOU WANT, directed by Boisvert, is the most genuinely frightening of the evening’s offerings: a haunted house story with a ghastly twist ... Cassidy’s other short work, JOY JUNCTION ('as cannibalized by Mac Rogers,' notes the program, and directed by Cox-Williams) is a short, disturbing sketch [which] take[s] the creep-factor over the edge. ... EXECUTION DAY is rated a hard 'R.' The wonderful, gushing gore effects designed by Cox-Williams spurt high (those ponchos are there for a reason.) If you like your Halloween horror dark, blood-soaked, and moral-free, check yourself into Hospital One for a visit, and enjoy your stay… (spooky, maniacal laughter)." 
    - Theatre is Easy

  • "A brilliantly grotesque evening of diverse horrors. ... The first piece, THE ART OF WHAT YOU WANT, written by Nat Cassidy and directed by Pete Boisvert, works as a graceful unveiling for the nature of the piece. Turning from Hitchcock to Almodovar it shifts the focus from the mysterious to the grotesque. ... Opening act two is a brilliant folk piece sung by “The Troubadour,” Nat Cassidy, who also wrote words and music for the piece, and directed by Patrick Shearer. A folk tale of terror ALL IN GOOD FUN is an epic that enhances the asylum’s mythology. ... JOY JUNCTION, written by Nat Cassidy and directed by Stephanie Cox Williams, is perhaps the most B Movie of the evening’s presentations. With comically gruesome sound effects, by Patrick Shearer, and surrealistically unbelievable plot, this piece accomplishes gross out horror with minimal presentation and gleeful energy. ... BEDLAM NIGHTMARES: EXECUTION DAY is above all a well crafted evening of theatre. The immense collaborative team presents a fiercely imagined and intentionally designed evening ... The gratuity of the macabre, as one exhumes the inventiveness of the mind’s darker corners, can, at times, reawaken childlike imagineering at the wonder of horror." 
    - New York Theatre Review

  • "My favorite of the plays was JOY JUNCTION, a story about a man and his puppet. It was disturbing, haunting and utterly revolting, the highlight of the evening. I won’t go into detail about what the puppet actually is, but it reminded me of something I once thought of after consuming a large meal and an entire bottle of scotch." 
    - Stage Buddy

"Sparks Will Fly"

A song cycle written and performed by Nat Cassidy
November 2013, CAPSLOCK Theater's SEX WITH ROBOTS Festival, The Secret Theatre

  • "The show opens with a fantastic musical prologue courtesy of Nat Cassidy.  He sets up the evening perfectly with his soulful tune about a lifetime of robot love titled Sparks Will Fly.  Indeed they did."
    - Richard Hinojosa, NY Theatre Now

  • "The evening began with an epic folk ballad from Nat Cassidy—of Nat Cassidy and the Nines—about the forbidden love of man and machine. If you’re hoping the words 'love' and 'Asimov' are used in a rhyming couplet, well, buddy, you’ve found your song! Honestly that wasn’t something I knew I needed it until it came out of Cassidy’s mouth—now I’m not sure how I lived without it."
    - Leah Schnelbach, Tor

  • "Cassidy’s Sparks Will Fly ... draws on the rustic future of mid-20th-century cybernetic chic, in a tale of a lonely man who engineers suburban bliss the only way it can really never go wrong, by literally building a family. Sung in a catalogue of cocktail-croon voices to the original locomotive techno of blues and folk, it’s a small masterwork of the human mind making of others what it will."
    - Adam McGovern, Fanchild


OLD FAMILIAR FACES

Written and Directed by Nat Cassidy
August 2013, The Players Theatre

  • "[A] wise and moving new play ... Cassidy’s perception into a dimly distant time is matched by his insight into the always even harder truths to see about our own ... The frankness and feeling of now we get from both pairs of characters, behind the veil of legend and with the guard of the fourth wall down, is remarkable. ... [Old Familiar Faces features a] luminously shaded, humane and intrepid performance by Tandy Cronyn [and] a portrayal of astonishing wit and warmth by Sam Tsoutsouvas ... The play enacts some of the most tender connections and most honest and aware accounts of mental illness and disintegrating relationships I’ve ever seen, and across a gulf of personality and from either side of the chasm of their relationship’s lifeline, Lee (Marianne Miller) and Oliver (James Patrick Nelson) give soliloquies, on longing for a not-yet-lover who is filing her thoughts and the loss of a wife his life has gone silent without, that are as heartbreaking as anything in the theatrical canon."
    - Adam McGovern, Fanchild

  • "[M]agical ... masterful direction by Cassidy ... [Shakespeare's] verse is so beautifully illuminated by Cassidy’s storytelling, knowledge of Shakespeare is not a pre-requisite for enjoying the show. But language is the real love object of this play. And the delight of Old Familiar Faces is the extent to which Cassidy’s own words resonate with poetry and meaning so much so, that he can move from Shakespeare’s words to his own without anyone but a Shakespeare scholar (or devoted theater artist) knowing where each begins and ends, much like the narratives themselves.  ... [S]o poetic, so full of insight and understanding, they felt like [Shakespeare's] 38th play and drew tears from my formerly chirpy friend. ... The performances in Old Familiar Faces are exquisite. Tandy Cronyn plays Mary Lamb with intelligence and power, making her timidity and self-loathing all the more excruciating. Sam Tsoutsouvas embodies the furiously loving but beleaguered Charles with a command of language that makes even his crudest utterances seem upper crust. James Patrick Nelson, as Oliver, is heartbreakingly truthful in every moment from tender to tormented. I almost feel creepy being in the room for someone else’s most intimate moments - due also to Marianne Miller’s excellent work as Lee. Miller is an actor who can move from ingénue, for which she’s likely to often be cast, to powerhouse - reminiscent of a young Kathleen Turner. And both Miller and Nelson do 'overlapping banter' as well as any Sorkin regular. ... So much brilliance on stage. ... Old Familiar Faces is a can’t-miss show in the 2013 FringeNYC season."
    - Sarah Tuft, Usher Nonsense

  • "Brimming with acerbic wit ... Ingenious ... The counterpoint here is spectacular, not to mention ballsy.  It takes a lot of nerve for a playwright to put his own text right next to – literally – the greatest words ever written for the theater.  Cassidy pulls it off, mostly thanks to the dry sense of humor sneaking through the piece and giving it mischievous life.  ... I will have to show up for Reverend Cassidy’s next sermon."
    - Mitch Montgomery, Surreal Time Press

  • "Cassidy [is] a seismic talent ... He is a craftsman of the stage, and earns one’s trust from the start. ... He entrenches us in the dualities of mental illness and caregiving, pride and insecurity, all-consuming joy and outright hatred. Characters take flight and are racked with guilt. Others remain and are haunted by time passing. The world of this play is messy and of the gut, not the brain, and yet still manages to articulate the magic of Shakespeare’s work without resorting to didacticism. I can’t imagine another contemporary playwright who would think to use the slang, insults, and bawdy humor of Shakespeare as a way to inform the inner and outer lives of his non-Shakespearean characters. It’s a gutsy move characteristic of Cassidy, and one that perhaps only he could pull off successfully. ... Tandy Cronyn, Marianne Miller, James Patrick Nelson, and Sam Tsoutsouvas deliver impeccable performances, endowing the three languages of this play – the personal, the Shakespearean, and the physical – with equal power and vulnerability. Cassidy does a solid job in his dual role as director, pivoting the tone from dramatic to comic and back again with ease."
    - Nathaniel Kressen, nytheatre.com

  • "Somewhere between madness and murder, loving and leaving is where the heart of [Nat] Cassidy’s impressionistic, funny and personal new play Old Familiar Faces lies.  ... Led by a first rate cast, Nat Cassidy’s  two-act play examines the difficulties, compromises and pain that come from loving, deeply. The stakes are naturally high and the lows are acutely felt ... Thanks to [Cassidy's] formidable gift with language, the effort these couples make to keep loving despite the difficulties, and harder still, when the love is no longer reciprocated, is playful, beautiful and decidedly worth it. ... Stripped of their 'language,' the holes in their relationship are exposed. Jealousy, lying, and deceit eat away at their relationship and so, they go their separate ways in what was surely the most gorgeously written scene of the play. "
    - Suszann Dotttino, Show Business Weekly

  • "This new play reinvents and thrills. ... Cassidy weaves an ornate tapestry full of little gems of searing humor, haunting violence, deep regret, and profound love. As the play unfolds you are constantly surprised how much in common you have with all the characters he has created. ... The non-linear structure hooks you in from the beginning, teasing you with bits and pieces of bait along the way.  ...  Cassidy's language envelops you. At times, it is reminiscent of Christopher Durang and even Tony Kushner. One moment you are laughing hysterically and the next you are questioning everything you know. ... As Mary Lamb tells her brother, 'Use your own words.' Cassidy does and it is a language I want to hear again and again. "
    - Shawna Cormier, Theatre is Easy

  • " Combining quotations from Shakespeare and his own blank verse, Cassidy presents us with much that is beautiful and moving. To combine his own writing with Shakespeare's takes, what?, daring, courage, ego, balls? But Cassidy pulls it off, and the play is an aural pleasure. ...  I hope the future brings Old Familiar Faces back to New York for longer than a Fringe-length stay."
    - Wendy Caster, Show Showdown

  • "We’re nearing the point that when Nat Cassidy is in something or writes something or produces something, we just show up without needing any further information."
    - Maxamoo

  • "Romeo & Juliet with Orlando Bloom and Condola Rashad is opening soon. But seriously, do we need another rendition of this play? If you, too, would rather see innovative, original work then head to Old Familiar Faces by Nat Cassidy. It will both satisfy your hunger for blank verse from the Bard and expose you to one of the hottest young playwrights in town."
    - Maxamoo (again!)

Featured in:

CHARON

A short opera commissioned by The Kennedy Center/Washington National Opera
Music by Scott Perkins
Libretto by Nat Cassidy
November 2012, The Kennedy Center
June 2014, Intimate Opera of Indianapolis

  • "Charon was the strongest [work of the evening]. Cassidy's libretto is spare and telling, and gave his partner repetitive and clear material for musical treatment. The piece works effectively because it establishes and maintains a single mood, intensifying to a dramatic conclusion."
    - Philip Kennicott, The Washington Post

  • “Perkins’ and Cassidy’s Charon was, as Monty Python might have put it, 'something completely different.' ...  Perhaps the most remarkable thing about Charon was the free-flowing imagination of librettist Nat Cassidy ...  Mr. Cassidy grabbed [Lord Dunsany's] idea and ran with it in his libretto, gradually revealing the growing horde of souls—by implication and suggestion—is actually the mass casualty of a human Armageddon. ... It’s a brief, intense setting for this quietly apocalyptic libretto that expands in a truly unsettling way the idea-kernel that Mr. Cassidy brilliantly extracted from Dunsany’s fictional speculation. ... Mr. Cassidy’s libretto is what any composer could want: a good, tight story; a compelling major character; a text loaded with rhythmic metrics, sing-able vowels; and the whole driven with choruses in a 'dies irae' funereal chant style, perfectly orchestrated by Mr. Perkins. The sum of its many parts provides a haunting atmosphere for the composer’s haunting music. ... In Charon, both the composer and librettist have an uncanny ability to [do] what a great composer like Verdi once did and what so many modern classical composers fail to do—make a visceral connection to their own times. And that’s what makes Charon a remarkable and welcome musical surprise."
    - Terry Ponick, The Washington Times

  • “Of the three presented, only one stood out and that was Charon. The libretto about the weary boatman ferrying newly deceased to Hades and the richly textured percussive music made the entire evening worth dashing from DC's Union Station.”
    - Karen LaLonde Alenier, The Dressing

  • “The best effort of the night  [was] Charon, with music by Scott Perkins and libretto by Nat Cassidy. ... With its echoes of Sartre's Huis clos (‘L'enfer, c'est les autres’), juxtaposition of grim humor and hellscape, and the most evocative use of the limited instrumentation by a long shot, it was a work not without  shortcomings but which I would gladly hear again and take the chance to study the score.”
    - Charles T. Downey, Ion Arts

  • “Charon was the most compelling opera in the program. It is by local composer Scott Perkins, and is based on the story of the ferryman of Hades, in Greek mythology, who carries souls of the newly deceased across the river Styx. But in this adaptation there is a twist. Humans have all died, due to circumstances associated with a modern world that is falling apart, so Charon has no more passengers to deliver."
    - Tom Alvarez, Indianapolis Examiner

BLOOD BROTHERS PRESENT...RAW FEED

An evening of short horror plays including "Joy Junction" and "TALHOTBLOND," written by Nat Cassidy
Directed by Pete Boisvert, Patrick Shearer, and Nat Cassidy
October 2012, The Brick Theatre

  • "Remarkably creepy ... Resonantly disturbing ... Nat Cassidy's Joy Junction is a highlight."
    – Maria Micheles, nytheatre.com

  • "Smart and daring ... The creative team makes bold and surprising choices, such as Nat Cassidy’s TALHOTBLOND ... The poignancy of this piece is accented beautifully... Provides the instant gratification of horror and blood with clever commentary and character exploration." 
    – Bradley Troll, Theatre Is Easy

  • “The night’s most rewarding [pieces] come from the playwright Nat Cassidy, with the sung-notspoken-word TALHOTBLOND, and Joy Junction.” 
    – Adam McGovern, Tor.com

  • “The most striking piece of the evening is Nat Cassidy's TALHOTBLOND. [It] is haunting ... Cassidy's Joy Junction is amazingly creepy.” 
    – Byrne Harrison, StageBuzz

SONGS OF LOVE: A THEATRICAL MIXTAPE

Written and Directed by Nat Cassidy
August 2012, The Players Theatre

  • "It’s like an episode of Kids in the Hall written by Ionesco and scored by Jonathan Richman. This mixtape is so diverse that at times it can be hard to believe that the same writer wrote them all, and is a testament to Cassidy’s versatility that he did. ... Cassidy’s voice is truly unique, confident, and strong. [Some of the short plays] are so gorgeous they just about defy gravity. ...  I wrote nearly half the thing down verbatim in my notebook as I watched because I wanted to make sure I’d remember those lines. It’s hilariously self-referential, and poetic, and chilling. ... [Ben] Williams’ performance in [the track titled "The Scariest Thing"] is one of the most upsetting, honest, jaw-droppingly raw moments of theater I’ve ever seen. ... At the end of the evening, my date turned to me and said, 'This restored my faith in theater,' and it’s easy to see why. Mixtape is compassionate, hysterical, and has moments of gut-punching raw beauty. My one regret is that I saw it so late in its run and can’t actually drive people into its audience. Here’s hoping it comes back to charm us once again."
    - Mariah MacCarthy, The Happiest Medium

  • "Fabulous ... I crumbled. Tears poured down my face and I wasn’t even embarrassed. ... [A] force of nature ... Hilarious ... The last piece may be the most warped first date I’ve ever witnessed or heard of. I could feel the audience freeze in their seats. ... Expect to laugh. Expect to relate. Expect to remember past love. Expect to speculate over current love. Expect to look to future love. Expect to cry. Expect to be moved. Expect to fall in love with this mixtape."
    - Katelyn Collins, Around the Fringe in 20 Plays
     
  •  "Nat Cassidy is an audacious fellow. His brand-new pastiche of twisted short plays and quirky folk-rock is perfectly suited to the sensibilities of FringeNYC festivalgoers' demographic. He’s clearly poured his heart into the project ... The stage lights up in the presence of the dependable Kristen Vaughan [who] delivers a gorgeous monologue ... Brilliant satire ... [Cassidy’s musical offerings] are truly inventive and well-utilized – a flattering imitation of Jonathan Richman from the film There's Something about Mary came to mind. ... I will be looking forward to Cassidy’s next project, even if it’s a set of covers."
    - Josh Sherman, nytheatre.com

  • "Songs of Love does not disappoint ... Inexusable and needs to be addressed."
    - David Roberts, Theatre Reviews Limited 

  • "Cleverly written ... Complex and heartfelt ...  It’s not often that a stage play throws you a curve that you don’t see coming at all. ... I may never look at my wife’s purse the same way again."
    - Russ Bickerstaff, Express Milwaukee

Featured in:

THE ETERNAL HUSBAND

Written and Directed by Nat Cassidy
August 2011, La Mama ETC

  • "Nat Cassidy's starkly original adaptation of Dostoevsky's The Eternal Husband is amazing, unforgettable. Charles E. Gerber's Older Man of the title is absolutely electrifying. Arthur Aulisi's Younger Man, Elyse Mirto's wife Natalya, and Karen Sternberg's ex-girlfriend Claudia, combine to generate heat that is pure brilliance. THIS IS 75 MINUTES YOU MUST NOT MISS!" 
    - Joe Franklin, Bloomberg Radio

  • "The Eternal Husband is a well-executed noir drama, staged simply and with utmost confidence by writer/director Nat Cassidy ...The material is startlingly well structured ... the cast is stellar ... Certainly, among the shows I've seen thus far in this year's festival, The Eternal Husband offers the most enjoyable night of theater. I can't wait for Cassidy's next creation." 
    - Nathaniel Kressen, nytheatre.com
 
  • "Nat Cassidy's The Eternal Husband has pretty much everything. Moments of sheer terror mixed with darkly funny humour; a romantic core with a violent exterior. But my gosh does it work. Running at a mere seventy five minutes there isn't a dull moment. Yet, it is not just the excitement that is so impressive but the careful layers of thoughtful philosophy. ... Cassidy makes the material work on its own terms, pacing things beautifully, letting the shocking conclusion breathe rather than overwhelm. ... The skilled cast conjures fully formed characters ... An impressive piece of work by any standards. I'd love to see Cassidy's adaptation given a slightly more polished production, the scope for terror could only increase, but at the tiny La MaMa theatre this is still, in every way, worth a look." 
    - Robert Walport, The Tyro Theatre Critic
 
  • "All the roles are well played, especially, I thought, that of Claudia (Karen Sternberg), a friend and former lover to [the private detective]. Elyse Mitro’s adulterous and castrating Natalya is eminently believable as the sort of woman an eternal husband is drawn to, as a moth to the flame ... The Eternal Husband is noir to the nth!" 
    - Broadway World

I AM PROVIDENCE

Written and Performed by Nat Cassidy
Directed by DeLisa M. White
March 2011, Manhattan Theatre Source

  • "A deliciously creepy evening full of surprise and frisson ... Very learned and highly entertaining [with] exciting and daring risks ... Nat Cassidy and Greg Oliver Bodine have devised an evening that puts us smack in Lovecraft’s territory of the weird and wild ... Clever writing complemented by excellent sound and light make for a most entertaining evening ... A near-perfect horror fest... The audience, breath held, hang[s] on every sound and word. This is pure storytelling." 
    - Nita Congress, nytheatre.com

  • "Nat Cassidy is obviously a talented performer and writer!"
    - The Village Voice
 
  • "Truly amazing ... Things at the Doorstep [is] an unexpectedly brilliant mediation on the use and function of horror, on H.P. Lovecraft himself, on the supernatural, on storytelling, on death, on hope. ... A play creepy and magical enough to do old H.P. proud. ... I'm still thinking about it, days later."
    - Tor.com

  • "Successful for so many reasons ... A true treat ... Entertaining, educational and strangely unsettling. Any fan of horror in general shouldn't miss this show ... Riveting." 
    - Weston Clay, Theatre Is Easy

  • "It is the most delightful thing we have ever seen anyone pull off on a stage, anywhere, ever, and if you are in New York you must go see it. You must. You REALLY MUST. Go. GO."
    - The Rejectionist, The Rejectionist

ANY DAY NOW

Written by Nat Cassidy
January 2009, Manhattan Theatre Source (Nat Cassidy, director)
October 2012, American Theatre Company, Tulsa, Oklahoma (Robert Walters, director)

  • "The first act mostly feels neatly off-kilter, with the audience never quite sure whether to laugh or to gasp. Cassidy packages his supernatural theme with such naturalistic aplomb that he evokes David Lynch, particularly the very first episode of Twin Peaks, where you were trying to decipher the creator's intent while increasingly jaw-dropping weirdness unfolded uncontrollably before your eyes. . . . Cassidy's direction is splendid, sustaining the heightened, off-balanced naturalism beautifully throughout. His cast of seven is superb. ... Any Day Now is further evidence of Cassidy's talent and intelligence as playwright and director. ... It's a long evening, but one filled with surprises and rewards." 
    - Martin Denton, nytheatre.com

  • "Any Day Now goes from being just an entertaining evening of theatre to...well, something GENIUS. Because you're being thrown for a loop from the moment the lights come up and are entertained for all three acts. [A] great play for a myriad of reasons . . . one that is full of laughs in the right spots. [P]laywright/director Nat Cassidy [does a] wonderful job. . . . [The play] delivers, with a surprising ending that holds the audience in the palm of its hand. . . [E]xceptional . . . [Keeps] the audience fascinated for three hours. This is like Sam Shepard meets George Romero....with more emphasis on the former artist than the latter." 
    - Dianna Martin, The Fab Marquee

  • "A vibrant drama, centering on a family whose patriarch returns from the dead during a pandemic of unexplained resurrections. The family members seek to both relate and deny the significance of their own ordinary problems — elderly dementia, closet homosexuality, alcoholism — to the global implications of the zombie appearances. [A] gritty family drama heightened by a clever allegory for larger social issues. . . . [T]he play's themes are compelling and clear."
    - Show Business Weekly

  • "Any Day Now, written and directed by Nat Cassidy, drew me on a cold and wet Saturday night in January. I don't often get to cover off/off Broadway, for there is something going on there almost daily and nightly, but I'm glad I came down to see this. . . . [Cassidy] has a gift for dialogue and characterization. . . . Not your usual run-of-the-mill family comedy (or drama, for that matter). But Mr. Cassidy has directed his play well, and cast it soundly with actors who bring conviction to it, and fill it with humor and pathos. It's a fine cast of seven, an ensemble that plays as though it were in the middle of a long run, which is meant as high compliment indeed. . . . [T]ight, suspenseful and scary."
    - Richard Seff, D.C. Theatre Scene

  • “Nat Cassidy's Any Day Now [is a] dark and troubling mix of kitchen-sink black comedy and stark horror ... Yet Cassidy's writing is so sharp that this play holds one's attention like a vise. ... It has its shocks of horror and hilarity - the early scenes are larded with coal-black comedy. But Any Day Now delves into a great many deeper, more challenging issues, raising questions about religious ideas, political motivations, the uncertainties of science, the damage that fear and hate can inflict. ... The sisters' climactic confrontation is shattering.  ... It's a show that anyone who appreciates theater that aims at both the head and the gut will appreciate. And it will haunt you for days to come.”
    - James D. Watts, Jr., Tulsa World

  • "On the local level, nothing topped Playhouse Tulsa's 'The Unmentionables" ... However, American Theatre Company's October production of 'Any Day Now' came close. Nat Cassidy's play might best be described as 'Long Day's Journey into Night of the Living Dead,' as an already dysfunctional family finds itself in the midst of an eschatological crisis when a dead family member comes back to life. 
    - Tulsa World, "The Biggest Moments of the 2012 Tulsa Arts Scene"

  • Playbill: Nominated for Outstanding Director (Nat Cassidy) and Outstanding Actress in a Lead Role (Elyse Mirto) for the 2009 New York Innovative Theatre Awards!
  • Playbill: Winner, Outstanding Actress in a Lead Role (Elyse Mirto)!

THE RECKONING OF KIT & LITTLE BOOTS

Written by Nat Cassidy
June 2008, The Gallery Players, Manhattan Theatre Source (Neal Freeman, director)
February-March 2014, First Floor Theatre, Chicago (Gus Menary, director)
 
  •  "Brilliant, irreverent, original - and very, very different from what the phrase "a play on Marlowe" tends to make us imagine. ... And there are issues of identity, of art, of humanity, of power - all served with plenty of effective dialogue and black humor. You laugh, you're surprised, you reflect ... [A] great discovery!"
    - Chiara Prezzavento, Senza Errori di Stumpa (in Italian)

  • "A great comedy!" 
    - Chicago Magazine

  • "A winter season must see ... THE RECKONING OF KIT & LITTLE BOOTS laces together bawdy humor and historical speculation with charming measure ... Cassidy combines the most dramatic and accurate suppositions of [Marlowe's] history. Using sharp humor and adventurous thinking, Cassidy’s story ultimately pays homage to Marlowe’s tremendous talent. ... The skill on display is beyond commendable and consistent in its entertainment factor. ... [A] manically funny delight ... full of passionate questioning ... It is no surprise that First Floor Theater was recently chosen as one of 2013’s top companies. Their current production of THE RECKONING OF KIT & LITTLE BOOTS is a golden affair."
    - Brian Kirst, Sights and Sounds Magazine

  • "RECOMMENDED. The 'Kit' in Nat Cassidy’s play is Christopher Marlowe, here haunted by the emperor Caligula, whose moniker (who knew?) means 'Little Boots.'  In sharp comic exchanges punctuated by violence, these two characters (and other Caesars and Elizabethan playwrights) explore the use and abuse of power, the necessary but despised role of the spy, and the challenge of writing simultaneously for one’s own time and for the ages.  Director Gus Menary brings out the best in all the performers, but Owais Ahmed as Kit, Tim Parker as Caligula and Alfred Thomas as spymaster Francis Walsingham have particular depth and breadth.  A production both intellectual and visceral, whereas so often we have to choose one or the other."
    - Dueling Critics

  • "Caligula is a spicy character, filled with sarcasm and bombastic energy, yet still manages to draw sympathy from the audience ... Cassidy [does] a great job of telling the tale of a lesser-known figure in history. There’s a perfect balance between truth and irony: Known events about Marlowe’s life struggle to be remembered, riddled with inappropriate modern-day humor and outlandish responses from the supporting cast — let’s just say the sexual tension is aplenty. ... Overall, Cassidy’s take on Marlowe’s life is pleasantly refreshing. His characters are all filled with spunk, and it is a great take on an often forgotten Elizabethan playwright. The struggles of power, religion and murder are always welcomed in tragic productions, and Cassidy managed to balance them all in a slightly perfect drama. ... Cassidy [brings] together everything audiences could want in a play. ... Stepping out of a cramped, crowded, black box theater after witnessing all the tragedy, comedy and witty skepticism of Christopher Marlowe‘s life just felt so wrong. A performance packed with actors and a script both acted and written at such a high caliber deserves way more than a couple seats set up around minimal stage space. "
    - Kristen Torres, Loyola Phoenix

  • "The acting, staging, the glimpses of humor and the sheer likeability of Marlowe, Caligula and several of the other characters make it easy to get lost in their Elizabethan world. ... Skirts the edge of Monty Python spoof and meaty drama ... This is a great pick for any anglophile, history buff, or lover of historical fiction. TROK&LB manages to be fun and serious, lighthearted and full of gravitas. Wonderful performances and a sharp script with a modern edge keep everyone on their toes."
    - Beth Dugan, EDGE

  • "Caligula is a fab character, and an irresistible one, and David Ian Lee seems to be having a blast bringing him to life. He gets to recount anecdote after anecdote of Caligula's astonishing, depraved, mythic existence ... But fun in its way as this all is, the heart of Cassidy's play—and the best parts of it—have nothing to do with the Roman emperor. Marlowe is the play's protagonist, after all, and it is what he learns from his experiences with his roommate Thomas Kyd (also a playwright, though a lesser one: he wrote The Spanish Tragedy), his comrade William Shakespeare, and his employer Sir Francis Walsingham that really fuel this Reckoning. What I liked best about the play is the way that Cassidy contemporizes Marlowe's existence without in any way diminishing it. Kit is a twentysomething overgrown kid, grappling with the same kinds of things not-quite-mature twentysomething wannabe-artists grapple with in 2008.  ... Cassidy nails what's universal about a character like Marlowe; and when the focus stays on what Marlowe can and should be learning from his chaotic life, Reckoning is at its strongest. The contrast between Marlowe's academic approach to writing and Shakespeare's unexplainable writing-from-the-heart is particularly central to Cassidy's theme ... Cassidy himself plays Marlowe, and he's terrific ... One thing's certain: there's talent aplenty on display here. Cassidy is clearly a young theatre artist to watch."
    - Martin Denton, Nytheatre.com

  • "This incredibly fun show about the death and legacy of Christopher Marlowe (sort of) and his failed attempt to write a play about Caligula came from the same creative duo that helped create Sleeper (Nat Cassidy and David Ian Lee). ... In addition to being well acted by Cassidy and Lee as Marlowe and Caligula, respectively, with a delightful turn by Keith Foster who portrays William Shakespeare as a sweet-natured naïf, The Reckoning of Kit & Little Boots is a very inventive and funny play that gives Marlowe the Charlie Kaufman treatment."
    - James Comtois, Jamespeak, #6 in his "Top 10 of 2008"

  • Playbill: Nominated for Outstanding Production, Outstanding Full-Length Script (Nat Cassidy), and Outstanding Actor in a Lead Role (David Ian Lee) for the 2009 New York Innovative Theatre Awards!
  • Playbill: Winner, Outstanding Full-Length Script (Nat Cassidy)!

SLEEPER

Written by David Ian Lee
Directed by Nat Cassidy

  • "Sleeper written by David Ian Lee and directed by Nat Cassidy, is an enormously serious play about, principally, the need for forceful and positive political action in America. . . . Lee's point is very well taken; and in this critical election year, much of what's on his mind should be on the minds of many. . . . [There are] solid performances. Cassidy's direction shrewdly balances moments of humor with the mostly grim situations and issues of the play, and keeps things fluid throughout. SLEEPER is laudable for its ambition and its serious sense of purpose."
    - Martin Denton, Nytheatre.com

  • "A lot of it is funny, and all of it is suspenseful. The cast is crazy good. The direction keeps everything light and fast, which is essential in a play this intense.  It's definitely one of those major commitment plays (in terms of emotions, time, and intellectual heavy lifting), but it's worth it, and you should see it."
    - Mac Rogers  www.slowlearner.typepad.com

  • "Rarely does Indie Theater successfully lay claim to the same territory as Angels in America and Syriana, but Sleeper does.  Dynamically directed by Nat Cassidy, the performances are uniformly superb. The dialogue is intelligent, full of humor and horror.  I love theater that shocks me out of complacency, and Sleeper does that and more."
    - Vincent Marano, Playwright (La Vigilia, Note to Self) 

  • 'This is the kind of theatre we need to be producing in New York:  It's relevant (politically and socially) and very well done.'
    - Norah Turnham, Producer & Director 

  • One of the things that saves Sleeper from being merely a position paper against the Bush administration's foreign policy is that it is populated with well-rounded, believable characters, not archetypes or mouthpieces. Right-wing characters are smart and sympathetic, left-wing characters are phony and hypocritical. A visceral and cerebral show that deals with the political as well as the personal, and astutely explores why and how there's often a divide between the two."
    —James Comtois, Jamespeak, #7 in his "Top 10 of 2008"