By Natasha Parnian There is a moment in Nu Sass Productions’ world premiere of Katherine Gwynn‘s Everything, Devoured when the demon onstage — rendered with such terrifying specificity that I found myself squirming in my front-row seat — turned toward the audience. I genuinely wanted to look away, the kind of visceral, instinctive recoil I have not felt since watching an episode of Unsolved Mysteries in the ’90s about demonic possession that lodged itself in my psyche and stayed there for the rest of my childhood. I did not look away. That is the highest compliment I can pay this production: it held me, uncomfortably and completely, for every one of its 90 minutes. Everything, Devoured is set in a Chicago apartment where a group of friends gathers for what begins as an ordinary evening. What unfolds is something far darker — a ritual summoning of a demon and a reckoning with the forces of evil, temptation, and moral compromise that feel startlingly familiar in the present moment. Gwynn’s script weaves together an ambitious range of themes: the AIDS epidemic, self-harm, ICE raids, war, oligarchy, childhood trauma, and the failures of the American healthcare system. That Gwynn manages to cover this ground in 90 minutes without the play collapsing under its own weight is a testament to their skill as a writer. Much of the language is genuinely beautiful, and the central conceit — that evil does not always announce itself loudly — lands with quiet, chilling force. O’Malley Steuerman as Ronald Reagan as a Demon in Nu Sass Productions’ Everything, Devoured.’ Photo by Shutterbug’s Creations. One of the play’s most urgent and resonant threads is its treatment of the queer experience in America. Gwynn draws a pointed and painful parallel between the battles queer people faced during the Reagan era — abandoned, scapegoated, and left to die during the AIDS epidemic while those in power looked away — and the battles they face right now, today, in this country. It is a parallel that should not need to be drawn in 2026, and yet here we are. The frustration of living that cycle again, of watching history repeat itself with such brazen indifference, is woven into the very DNA of this play. More than that, Gwynn turns that frustration outward. Everything, Devoured does not allow its audience to sit comfortably in witness. It asks — pointedly, uncomfortably, and necessarily — whether you, the person in the seat, are doing your part. Whether you are holding those responsible accountable. It is a question that follows you out of the theater and into the street. Directors Tracy Erbacher and Ileana Blustein demonstrate a clear and confident theatrical vision throughout. Working in the Sitar Arts Center’s intimate black box — a room of no more than 20 seats — they have created a pressure cooker of an environment, tightening the screws scene by scene with real precision. The concept of connection despite isolation runs as a clear through line, and the directorial hands shaping that concept are visible in the best possible way. For a world premiere in an intimate space, the production has a remarkable sense of cohesion, and the ensemble work speaks to the investment both directors brought to the rehearsal room. The acting is largely strong, with standouts that linger. Tristin Evans as Julian is exceptional — a performer with a richly developed internal process and an honesty so complete that watching them felt like eavesdropping on a private moment. It is the kind of acting that makes everything around it feel more real. June Dickson-Burke as Julian’s lover Kore brought genuine investment in the stakes of her character, and her commitment to the emotional world of the play was evident; however, there were moments when that investment did not fully translate into physical and vocal specificity, leaving some scenes feeling slightly underplayed. Growth to watch for in future productions. The cast of Nu Sass Productions’ “Everything, Devoured’: Christian David Harris (Michael), June Dickson-Burke (Kore), Tristin Evans (Julian), Selena Renee Gill (Dante), and O’Malley Steuerman (Ronald Reagan as a Demon). Photo by Shutterbug’s Creations. Selena Renee Gill as Dante was a source of real comedic relief, wearing an “I [heart] HOT DADS” T-shirt and offering well-timed levity that kept the show from becoming relentlessly heavy. Equally valuable were the several moments where Gill’s Dante stepped outside the action to connect the onstage world to the audience’s lived experience — a device that, in lesser hands, can feel forced, but here felt organic and generous. Christian David Harris as the spectral Michael presented an interesting puzzle: early in the play, his work felt presentational and melodramatic in a way that seemed at odds with the intimate, close-up nature of the production. There was a disconnection from the ensemble that was initially puzzling —  until the play revealed that this was, in fact, intentional and integral to the story. By the final act, Harris delivered a moment of such quiet, genuine emotion that it stopped the room. It was moving and beautifully earned. O’Malley Steuerman‘s portrayal of Ronald Reagan as the demon-in-drag the friends summoned is, quite simply, one of the most unsettling pieces of character work I have seen in a small theater space in some time. The commitment was total — frighteningly, disturbingly total — and I mean that as the highest form of praise. It takes a great deal to get genuinely under my skin in a theater, and Steuerman did it. There were a handful of moments where lines seemed to arrive slightly before the cue from a scene partner was fully completed, which occasionally read as anticipation rather than the omniscience the character might intend. It is a small note in what was otherwise a fearless and unforgettable performance. The technical elements are, on balance, strong. Di Carey’s sound design was chilling and effective, doing real work in establishing the supernatural atmosphere. Lighting designer Vida Huang created a clear and intelligent distinction between the natural and the otherworldly, giving the production visual grammar that guided the audience through its more surreal passages. Projections by Sophie Smrcka and Evey Hoang Vo pulled the special effects together with skill, contributing meaningfully to some of the production’s most striking moments. Simone Schneeberg’s scenic design was clever and well-conceived for the space — with one minor distraction: the apartment door remained slightly ajar for the duration of the play, which, in so intimate a setting, drew the eye in ways that may not have been intended. Props, designed by Martin Bernier, showed real attention to detail in several moments — a lighter used to suggest a candle flame, shielded with appropriate subtlety, was a nice touch. However, a few choices were distracting: the wine bottle used onstage bore little resemblance to a wine bottle, and the color of the “pinot noir” referenced in the script was a light pink-purple that no pinot noir has ever been. In a production staged five feet from its audience, these details are noticed, and a closer look at prop authenticity would serve future runs well. Gwynn’s writing deserves a final word. There is something genuinely courageous about a script that refuses to look away from the ethical failures of our current moment — healthcare, immigration, systemic corruption, the normalization of cruelty — and frames them through the lens of demonic temptation. Furthermore, the play makes a bold choice by offering an introspective critique of the queer community, particularly regarding the tension between active political engagement and personal withdrawal. The moral is not subtle, but it is not meant to be. As Julian (Tristin Evans) says in the play: “When evil knocks on the door, it is up to us to fight it.” In the current climate, this is not a small thing to say, and Nu Sass Productions has said it with boldness and craft. Running Time: Approximately 90 minutes, no intermission. Everything, Devoured plays through May 10, 2026, presented by Nu Sass Productions, performing at Sitar Arts Center, 1724 Kalorama Rd NW, Washington, DC 20009. Tickets are $25 with student, industry, and pay-what-you-will rates available. Purchase tickets online or call the box office at 202-627-0558.  The program is online here. SEE ALSO:Nu Sass to premiere Katherine Gwynn’s ‘Everything, Devoured’ (news story, April 3, 2026) Natasha Parnian is the managing artistic director of Dark Horse Theatre Company, which she founded in Washington, DC, in 2009. She studied at UNC School of the Arts and has been active in the DC theater scene since 2005. She is a director, playwright, and producer known for her immersive staging and commitment to psychological realism. Beyond her theatrical experiments, Natasha owns two small businesses, leads corporate and educational workshops, but mostly enjoys life as a homeschooling mother, cross-country motorcyclist, and animal lover. She also serves as a performance strategist for TEDx and Toastmasters. She is a multifaceted artist dedicated to truth-telling and pushing the boundaries of the craft.  ...read more read less