The Revenants 2015 Trailer!

Deathscribe 2014: Fracture Zone WINS!

WildClaw Theatre is delightened and SO frightened to announce that last Monday, our Deathscription was filled when 2014’s coveted Bloody Axe went to Christopher M. Walsh for his tale of underwater exploration gone horribly, horribly wrong, Fracture Zone!

Axe Walsh

He’ll tell you no lies…no matter how much you beg…

First Lieutenant Farragut and Crewman Rickover are members of the crew of the Deep Submergence Vessel NR-2. In fact, they are the only members of the crew that have held onto their lives and sanity (…?), after their mission to investigate seismic anomalies results in the mysterious derangements and dismemberments of their colleagues. Sinking fast with their former crewmates howling at the door, they have rerouted just enough power to record a warning for anyone else unlucky enough to stumble across the “Fracture Zone.” Directed by Sara Sevigny and starring Corrbette Pasko and Noah Simon, this feature from the black lagoon thrilled our judges with its actors’ spot-on timing, the writing’s ratcheting claustrophobia, and Foley effects that left us feeling CRUSHED.

In her house at Factory, dread Sevigny waits dreaming...for Deathscribe 2015

In her house at Factory, dread Sevigny waits dreaming…for Deathscribe 2015

The daemons of WildClaw are toiling away to bring our previous Deathscribes to the website for your aural pleasure. As always, words cannot express our gratitude for all of the hard work put in by our playwrights, directors, actors, musical guests, sponsors and patrons that keeps Deathscribe the definitive horrorday event to make hearts sing and ears bleed. Deathscribe is a celebration of scary stories, more importantly, Deathscribe is a celebration of YOUR scary stories. It would not happen without our audience, our fun, fearsome, fantastic fans that push us every year to bring you the best in live horror entertainment.

Submissions for Deathscribe 2015 will open in the spring, and while it is time to lettuce rest (it was feeling beet), WildClaw’s Winter of YOUR Discontent is far from over. This January, we ring in the new fear with our bold new production of Scott T. Barsotti’s The Revenants:

A violent uprising of the undead forces two couples into hiding, and infected spouses take a turn for the worse. Gary and Karen tether their turning partners, Molly and Joe, for the safety of all; but as Molly and Joe fall deeper into sickness, the question of whether or not they are still themselves becomes harder and harder to answer as they become more threatening. As Gary and Karen come face to face with the true meaning of commitment, they must ask of each other: when does love die?
That ain't the honeymoon suite...

That ain’t the honeymoon suite…

The Revenants previews on January 8th & 9th and OPENS on January 10th at the beautiful Athenaeum Theatre. Join us!

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Walking Dead Beers…

Arcade Brewery releases six-pack comic by Jason Aaron and Tony Moore


CHICAGO (December 8, 2014) — Chicago craft brewery, Arcade Brewery, announced today it will release it’s first volume of 6-Pack Stories™ on new comic day, Wednesday December 10th. Festus Rotgut: Zombie Cowboy is a western zombie comic written by Jason Aaron (Thor / Southern Bastards) and illustrated by Tony Moore (The Walking Dead / Fear Agent) across six bottles of Black Wheat Ale.

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Arcade co-founder Lance Curran said the idea was to tell a story first and then brew a beer to match the story. Co-founder Chris Tourre brewed that beer and says he chose a dark wheat ale because it seemed to fit perfectly with the tale of Festus Rotgut.


“Since there are zombies, I immediately thought something dark,” said Tourre. “Driving a heard of cattle across the dusty landscape also made me immediately go to a dry wheat beer.”


Tourre says he used some specialty roasts to create marshmallow and caramel flavors. He dry hopped the beer too, which Tourre says gives it a spicy finish.

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6-Pack Stories™ creates a unique experience for the craft beer and comic book lover. A rarity in beer and story telling, 6-Pack Stories™ will become an instant collector’s item and a must-have gift for any beer-drinking comic fan.


Festus Rotgut is a limited release and will be available in Chicago area bottle shops. See a map of locations at, or you can buy it online at West Lakeview Liquors, The Beer Temple, and Binny’s Beverage Depot.


Arcade Brewery will host tastings of Festus Rotgut on Wednesday at the following Chicago locations:Kimbark Beverage, Binnys Lincoln Park, Bottles & Cans, and West Lakeview Liquors. Please follow Arcade Brewery on Twitter and Facebook for further details and promos!


About Arcade Brewery

Arcade Brewery is a Chicago-based craft brewery dedicated to creating delicious craft beer inspired by art and community.

Soon you can have your own plastic AHS:Coven….

NTEGRITY TOYS brings on the thrills with the release of a new series of collector dolls based on FOX’s FX’s AMERICAN HORROR STORY: COVEN in 2015!



December 2nd, 2014: As audiences enjoy the debut of the latest installment of the AMERICAN HORROR STORY saga on television, Integrity Toys, Inc., under license from Twentieth Century Fox Consumer Products, is thrilled to announce a partnership to produce high-end collectible dolls based on the various characters of fan-favorite COVEN, the iconic third season of the AMERICAN HORROR STORY series.


Pop Culture enthusiasts and fans of the hit TV series alike will be thrilled to take home these intricate collector dolls based on their favorite characters of the bewitching third season of the show! Currently in development, the dolls, slated for release in mid-2015, will be based on the actual likeness of the key characters each dressed in quality miniature replicas of some of their iconic looks from the show. The first dolls are expected to be unveiled in the Spring of 2015 and to ship in Summer 2015.


Integrity Toys designer Vaughn Sawyers voiced his enthusiasm for the collaboration, “As soon as we saw the show on TV, we were mesmerized. The characters, the exciting costumes and the overall feel of the show are just a perfect fit for us to memorialize in miniature for AMERICAN HORROR STORY fans worldwide.”


While the dolls are being developed ahead of their official unveil next Spring, fans and collectors alike are invited to add their email address to the official notification list for the dolls. To access this list, please visit


About Twentieth Century Fox Consumer Products

A division 21st Century Fox and recognized industry leader, Twentieth Century Fox Consumer Products licenses and markets properties worldwide on behalf of Twentieth Century Fox Film Corporation, Twentieth Century Fox Television and Fox Broadcasting Company, as well as third party lines. The division is aligned with Twentieth Century Fox Television, the flagship studio leading the industry in supplying award-winning and blockbuster primetime television programming and entertainment content.


Horror Intro

Meet Our 2014 Deathscribes (Part 5 of 5): Steve Baldwin

We love a writer that's not afraid to get his hands dirty.

We love a writer that’s not afraid to get his hands dirty.

Today we’re crossing signals with Steve Baldwin, author of “Please Stand By” for Deathscribe 2014. Earlier this year, Steve finished his first book: “Battles of the Zombie Apocalypse: Volume One: Operation Skullcrusher.” He’s also working on a new audio product called “Transmissions from the Zombie Apocalypse Volume Two,” his second collection of audio scenes from the zombie holocaust. Steve is also the lead designer for ‘Specimen,’ a sci-fi horror board game that was released at the end of last year. It pits a group of astronauts against a monstrous creature and is a lot of scary fun! We’ll be talking about the perils of exposition, the power of imagination, and What Scares Him.

How did you get into horror?

When I was 11 or 12, I saw “Night of the Living Dead” on TV and I’ve never been the same since. It scared the hell out of me! That’s when I learned that I’m one of those folks that just loves being scared.

What was the hook for you in this story? What came first, the story or the sound?

Without giving too much away, the hook for me was the changing of the channel. The ‘click’ of the remote button was the first thing I came up with.

What do you consider the biggest challenge in writing for “radio,” compared to traditional theatre?

The concept that you have no visual component so your dialog has to tell a more complete story without becoming too info dumpy.

What sound would you most like to see/hear performed in a Deathscribe piece?

That’s a tuff one. The sound of someone rising from a grave would be pretty cool.

Do you have any advice for aspiring Deathscribes?

Keep writing and don’t be afraid to submit your stories! Don’t limit your imagination.

Little Anthony Fremont writes us the bestest Deathscribe pieces every year. We swear! Please don't kill me...

Little Anthony Fremont writes us the bestest Deathscribe pieces every year. We swear! Please don’t kill me…

What scares you?

Clowns. Finding a door open that you know you closed or turning a light off and then finding it back on when you come back to the room. Dolls scare me too.

We can’t wait until Steve toys with us in “Please Stand By,” directed by Kevin Theis for Deathscribe 2014 on December 1st at 8 pm at the beautiful Mayne Stage Theatre!

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Meet Our Deathscribe Directors (Part 4 of 4): Anderson Lawfer



Today we’re huffing and puffing with Anderson Lawfer, director of “The Wolf at the Door” by Jessica Wright Buha for Deathscribe 2014. Anderson is the Artistic Director of Strawdog’s Hugen Hall, where he recently adapted and directed Fail-Safe and Pontypool. He has also directed a radio play based on the stories of Ben Hecht called “1,001 Afternoons In Chicago,” and hosts radio show “The Game Show Show and Stuff” on Tuesday nights on 88.7 WLUW! We’ll be talking about hindsight, instant gratification, and What Scares Him.

How did you get into horror?

My mom would never let me watch it. When I was a young kid I stole a vhs tape from my neighbor’s house that had Candyman, Shocker, and The Serpent and the Rainbow on it and I watched it over and over and over again until I knew every line in those movies. It felt dangerous and sort of gross and I loved it.

What excites you most about directing horror, compared to other genres?

There are very clear motivations in horror. Horror is usually more about excitement and instant gratification, and instant gratification is my jam.

What in this script resonated most with you?

It sort of feels like a blank canvas. Jessica didn’t bleed her blood all over it. There was lots of space for interpretation.

What do you consider the biggest challenge in directing for “radio,” compared to traditional theatre?

You basically remove an entire sense for the audience. Everything else needs to feel more rich and textured and sexy and crisp.

What sound would you most like to see/hear performed in a Deathscribe piece?

I love the sound of shoes on the street. Is anyone using the sound of shoes on the street in this? I hope they do.

And they're as excited as you are!

And they’re as excited as you are!

What scares you?

Intruders, viruses and being held captive.

We’re sure to find Anderson’s work captivating when we see “The Wolf at the Door” at Deathscribe 2014, December 1st at the Mayne Stage Theatre!

Meet Our 2014 Deathscribes (Part 4 of 5): Ignacio Zulueta

Dressed so sharp, I could cut myself

Dressed so sharp, I could cut myself

Today we’re going to dive on in with Deathscribe 2014’s Ignacio Zulueta, author of “Down by the Lake,” directed by Mary Rose O’Connor. Ignacio’s work has been featured recently in Amios Theater‘s SF branch of the national Shotz ‘brand’ of fun, fast, cheap theater: Beer included with ticket. He has his own live Foley performance this November for Book of Typhon, a supernatural apocalyptic audio play from 2011 Deathscribe alum Colin Johnson. He is aiming for a 2015 writing residency at the Eugene O’Neill Foundation, which provides a month to write plays in O’Neill’s historically preserved country home in Danville, CA. We’ll be talking about a lovely day at the beach, the unforgiving nature of sound, and What Scares Him.

How did you get into horror?

I was eight years old and visiting the beach with my family. We came there every summer we could, and I loved the ocean and my independence equally. There was no helicopter parenting, as much time away from siblings as one wanted. One bright and bustling afternoon I swam out further from shore than I ever had before. The tide was going out, and the white sand floor fell away from beneath my feet til I was left suspended and bobbing over a great green gulf of salt water. A sense of vertigo welled up as I looked down seeing my pale feet kicking so far above a distant sandy bottom below. I turned around to head back to shore.

But the tide was still going out.

I wasn’t a strong swimmer, but I had sudden panic and adrenaline on my side. I kicked and flopped for shore, crawling up the back of one wave and spilling down the other side like a ant traversing sand dunes. I couldn’t feel the sweat wicking off my body into the ocean, but I could feel the exhaustion slowing down my limbs. I could see the crowded shore clearly. I could other people playing in the surf just yards away from me. The shore wasn’t getting any closer, so I waved my hands and yelled, even though the movement pushed me further down into the brine. And when yelling didn’t work, I screamed.

No one noticed. Perhaps all they saw was an excited child, if they saw anything at all bobbing between the ranks of rising and falling waves. Perhaps all they heard was one more high, piping, easily overlooked voice in the confused murmur of music and laughter and children screaming with excitement and delight.

I do not actually recall the moment my feet touched sand again. Any headway I made swimming against the tide might not have been perceptible at the time, especially given how easy it had been to swim the other direction. But, like a snail’s steady progress, I suppose my efforts must have added up, and I dragged myself out of the surf.

But it’s funny, looking back. I don’t recall the moment I knew I was safe, or of the relief I felt, or the precautions I took in the future when returning to that beach.

What I remember most keenly is the fear.

I remember the animal panic. I remember the ebbing of strength and the shudder of involuntary weakness. I remember the shock of going unheard and unseen. I remember the dislocation of hearing the idle chatter of strangers as I dragged myself shivering from exhaustion up onto the sand. They were all having a simply, splendidly, wonderful day at the beach, free from all cares, with no obvious sight or sound to give cause for alarm. Why should they have suspected that anything at all were amiss?

And that’s how I got into horror.

That's just the beginning, folks.

That’s just the beginning, folks.

What excites you most about writing horror, compared to other genres?

Horror wastes no time, takes no prisoners, and doesn’t even pretend to have answers for all the questions. The stakes are existential, the themes are subversive, and the contract between performers and audience is clear. The demands on the writer to innovate and surprise are mandatory in the best possible way.  Horror has all the pleasure of the ‘Who-dun-it‘ with the added intellectual thrill of the ‘What-is-it?” and the lingering, delectable doubt of the, “Could-It-Happen-Again?”

What was the hook for you in this story? What came first, the story or the sound?

The sound of water. It’s evocative, versatile, and absolutely challenging and cost-prohibitive to execute in any other medium than radio. I’d been dreaming for two years about how to write a play that dealt with the seductive danger of water.  After I knew the ambient environment, and began to think of all terrible things that might happen in it, all I needed from that point out were characters who had something to hide.

What do you consider the biggest challenge in writing for “radio,” compared to traditional theatre?

Minimalism in craft coupled with extravagance in concept. I’ve found audio is a genre that is less forgiving to muddle while being more forgiving to the suspension of disbelief. Keeping my scripts short allows the listener to stay sharp and focused. Foreshadowing physical action and sound effects requires a deft turn of phrase to prevent the listener feeling spoon-fed. Holding down cast sizes mitigates confusion, as does  distinguishing each characters from one another through diction, dialect, and gender.

What discoveries have you made about storytelling during this process that you are excited to use in future projects?

The character of Deputy Beth Shiner. I get the feeling there’s more tales to tell about her and her peculiar little town.I’m also interested to see how director Mary Rose O’Conner tackles the Foley for the show. With my own Foley project coming up next month, I’m keen to know how she and the Deathscribe techs manage to render not only my soundscape, but the soundscape of the other imaginative plays in the mix. Building an effect can be as pleasurable as building the story it belongs to.

What sound would you most like to see/hear performed in a Deathscribe piece?

The sound of an entire auditorium shrieking in ecstatic, contagious hysteria… and other forms of live music. This is radio, right? Let’s have some music to augment the harrowing mood, or to allow the audience to catch their breath before the next bout of madness takes them.

Do you have any advice for aspiring Deathscribes?

Do whatever it takes to send out your play three days before the deadline. You’ll save yourself the cold sweats of a midnight submission. Those of you who enjoy cold sweats can rewrite the play in the three days before the deadline and try to wring out a new draft with the added failsafe of being able to send in the draft you finished earlier.

What scares you?

Half-open doors in a darkened room. The glassy eyes of dolls. Unmet deadlines. Human apathy.

Fortunately, scaring means caring when you see “Down by the Lake” at Deathscribe 2014 on December 1st at the Mayne Stage Theatre!

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Meet Our 2014 Deathscribe Directors (Part 3 of 4): Sara Sevigny

Those eyes...know something's coming...

Those eyes…know something’s coming…

Today we’re making waves with Sara Sevigny, director Christopher M. Walsh’s “Fracture Zone” for Deathscribe 2014. Sara and her writing partner, Corrbette Pasko, just debuted their short play “30 Days Down the Rabbit Hole” at Abbie, and followed that up with “Autumn Leaves” as Red Theater‘s entry in Fight Night at The Den. Their full-length play,  Zombie Broads, goes up at Factory in fall 2015. Sara’s favorite drink is unsweetened green tea lemonade because it tastes like sunshine. We’ll be talking about sound as a character, hiding places, and What Scares Her.

How did you get into horror?

By force. I hate horror. I love paranormal, but true horror scares the shit outta me. I got nightmares for weeks just seeing Blair Witch Project. Holy hell, that brought me back to childhood. As a camper, who knows there are those crazy abandoned houses in the middle of the woods for no reason, and had counselors who would put rock piles in front of your tent telling you it was the ghosts of a cursed burial ground? That shit is real. No lie.

What excites you most about directing horror, compared to other genres?

I’m just as scared as the audience about what is happening. If I’m freaking out, then everything is working. My heart is racing just answering this question.

What in this script resonated most with you?

Meeting the characters at the end of their story. You’re thrown right into the center of shit hitting the fan and you just have to hold on tight and ride it til the end.

What do you consider the biggest challenge in directing for “radio,” compared to traditional theatre?

Remembering that the audience should be able to close their eyes and have a similar if not more heightened experience than if they were watching a play/movie. I know when I watch something scary, the first thing I do is close my eyes to ‘hide’ from whatever it is that is scaring me, right? We all do. In doing radio, there should be nowhere that the audience can hide. Closing their eyes should actually make things scarier. That’s the goal!

What discoveries have you made about storytelling during this process that you are excited to use in future projects?

I was a performer last year, and really loved how powerful sound can be to any script. How important it is to incorporate it into your storytelling to enhance mood, plot, tension, etc. The fact that each writer uses sound as if it is a character? That’s awesome.

What sound would you most like to see/hear performed in a Deathscribe piece?

Sucking or draining someone dry.

Beauregarde was last seen tumbling down the sidewalk at ludicrous speed.

Beauregarde was last seen tumbling down the sidewalk at ludicrous speed.

What scares you? 

Those waterlogged spirits that are remakes from Japanese movies, (example The Ring). Any ‘girl’ with matted hair that is coming out of a tub is a enough to make me start screaming to run for your friggin life. And Sharks. I mean they’re the zombies of the sea. Oh, and zombies. Because they’re zombies. Anyone who likes zombies is crazy. It only takes one and it’s the end of the world. THE WORLD!

Come watch Sara bring us to the world’s end with “Fracture Zone” by Christopher M. Walsh in Deathscribe 2014 at the beautiful Mayne Stage on December 1st!

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Meet Our 2014 Deathscribes (Part 3 of 5): Jessica Wright Buha

Hey there, Little Red Riding Hood...

Hey there, Little Rad Riding Hood…

Today we’re paying a call on Jessica Wright Buha, author of Deathscribe 2014’s “The Wolf at the Door.” In addition to her current projects adapting Amy Timberlake’s One Came Home for Lifeline Theatre and co-creating a piece for Curious Theatre Branch’s Rhinofest 2015, Jessica won the coveted Bloody Axe award in Deathscribe 2011 with “Alabama Mermaid,” a bluegrass-tinged tale of tragic terror. Jessica will be talking to us about the lingering effects of horror, sibling rivalry, and What Scares Her.

How did you get into horror?

When I was in second grade, I remember riding in a car to go visit Santa with my girl scout troop, and one of the older girls told me my First Ghost Story. It’s the one where a girl keeps getting these creepy phone calls, but she doesn’t worry because every time she gets scared she puts her hand down for her dog to lick, but really it’s this axe murderer licking her hand (!!!) and the story ends with her seeing the dismembered body of her dog hanging outside her window (!!!!!!).

After that, it was all Stephen King novels and jumping from my bedroom doorway straight into my bed to avoid getting sucked into the Great Beyond by the monsters lurking beneath my boxspring.

What excites you most about writing horror, compared to other genres?

What excites me about horror as a genre is that you can really worm your way into people’s brains. Drama doesn’t make you double-check the locks before you go to bed, and a comedy won’t make a typical journey to the basement of your apartment a charged, strange event. But after seeing a proper horror movie, the familiar landscape of our lives becomes changed in a really exciting way.

What was the hook for you in this story? What came first, the story or the sound?

For me, it was the story. I have a fraternal twin sister, and we’ve always been a bit competitive with each other.  Through the years, Angela and I have tried to steer clear of each other’s interests and carve out our own niches. But sometimes I wonder what would have happened if we both became very, very, very, desperately interested in the same thing. It’d be a tricky situation.

What sound would you most like to see/hear performed in a Deathscribe piece?

I’d love to hear a good, old-timey ghost ship a-creaking about. Or a dead carcass hitting a windshield. I suppose those sounds’re in two different plays.

Do you have any advice for aspiring Deathscribes?

I did this a couple of years ago, and it worked out okay: write two submissions a few months before the deadline, and compare the two. Take the weaker one and beef it up until it’s the stronger one, then do the same to the other. Repeat until you go insane.

Though having a good, meaty soundscape is great, don’t forget about strong visuals.

Also, don’t just think that a good Deathscribe piece needs to have an insanely high body count (or tons and tons  of gore). Horror can take a lot of forms (slow-burning suspense, slasher, supernatural, etc, etc). Go with the sub-genre that excites you the most!

What scares you?

Getting my blood drawn, the creepy axe-murderer that lives in the basement of my apartment building (but always manages to hide JUST IN TIME whenever I open the door), and the thought of coming home to find the asphyxiated body of my dog lying on the floor, having choked to death on some stupid thing that I left on the kitchen table in easy reach.

We'll just assume the axe murderer gave him that while preparing to draw some blood and call this a hat trick.

We’ll just assume the axe murderer gave him that while preparing to draw some blood and call this a hat trick.

Incidentally, my dog is terrified of houseflies. So terrified, in fact, that now the little buggers are starting to freak me out, too.

We can’t wait for Jessica to freak us out with “The Wolf at the Door,” directed by Anderson Lawfer, on December 1st at the Mayne Stage Theatre!

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You poor dear. Did you positively gnaw your fingers past the nail, through the cuticle and down to the bone wondering WHEN and WHERE you could purchase tickets for DEATHSCRIBE 2014, December 1st at the Mayne Stage?

The answer is NOW and HERE: Buy tickets to Deathscribe.  See you soon…