“Ultimately, here’s the incredible thing about the production: even with the outcome always in sight, Caselli and cast leave the viewer continually in anguish over what will happen. The Dead Guy is commendable for setting up an abominable premise and then forcing the audience to live within it — and its implied complicity — until they, like Eldon, hope against hope that a twist or reprieve might change the outcome. Operating deep within the belly of the beast, the tech-pervasive production both condemns the ethically irresponsible consequences of reality television and capitalizes on our draw to it, resulting in a show that might be hard to watch if it weren’t impossible to look away.” -Carolyn Hayes, The Rogue Critic
“While the subject of reality television shows marks this play as very much a new millennium work, the themes and journeys have echoes of Flowers for Algernon, Glengarry Glenn Ross and Death of a Salesman in its expert exploration of what makes an individual valuable and what people will sacrifice or steal for their own success. The Dead Guy is not a play one soon forgets, as it charges you for every laugh and makes sure your tab at the final curtain is expensive. It entertains without manipulating and surprises with its suggestion of what poetic justice might be. -Bridgette Redman, Encore Michigan
“Beyond the clever twists of Cobie’s script, you’ll marvel at this production, perhaps Williamston’s most elaborate ever. Reality TV can’t grab you like this!” -Kate O’Neill, Lansing State Journal
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