It was late. 11pm to be exact. The familiar smell of nag champa incense was thick in the air as near-catatonic patients stumbled around listless before me in a creepy, dark room. Yes, I was home again, sitting in my favorite seat at Zombie Joe’s Underground Theatre awaiting the return of his signature show, Urban Death for its 2018 incarnation.

As is often the case, Urban Death begins the moment the house opens with a long-form scene playing out as the tiny black box theatre filled to capacity. This year the show begins no differently. Jonica Patella, Barry Bishop and, Michaela Slezak waddle, drool, moan, and vacantly stare out at the audience as a sickeningly sweet easy listening version of The Carpenters hit “Close to You” droned on (because the original version was so hardcore). Soon enough though, the house is filled, the lights dim, and the show begins.

Performed in the traditions of Theatre of Cruelty, Butoh, and Grand Guignol theatre, Urban Death transports audiences to a dreamscape of shock, absurdist humor, and pathos in an attempt to connect with the audience on a deeper level. The hour-long show contains no dialogue, no story to speak of. Scenes play out in viggnette style moments where the lights rise on the stage, a moment happens, the lights go down. It is a format that is simple, yet powerful and effective.

This year directors Zombie Joe and Jana Wimer build a solid roster of mostly new scenes that er on the side safety rather than savagery. This isn’t a bad thing and a rather prudent move on their part as they prepare to take the show to the Edinburgh Fringe this August. Yet we see a very measured show, balanced with everything that makes Urban Death what it is.

The cast hasn’t a single weak link. This is an all-star team of fearless performers gives it their all.Yes, Jonica Patella and Elif Savas battle it out to see who packs the most talent in the smallest package and the two are remarkable. Ian Heath and Able Horwitz, are solid again, doing the uninhibited work that they are known for. Kelly McMinn brings his wonderful traffic cop routine back that needs to be seen to be believed. Yet they are given a run for their money by newcomers that tear things up. Warren Hall stands out with his twitchy, angular movements, Gina Bishop graces the space with elegance and ferocity, Michaela Slezak brutally commands attention when on stage and the lumbering Barry Bishop continues to establish himself as an indispensable member of the ensemble.

If you have never been to Zombie Joe’s Underground Theatre in North Hollywood you cannot call yourself a well-rounded theatregoer. While the large performances of major musicals at the Pantages are great, they are not daring pieces of art and they break no new ground. Zombie Joe’s Underground Theatre’s Urban Death is the vanguard of performance art in Los Angeles and it must be seen. Just go.

Zombie Joe’s Underground Theatre Group has set up a fundraiser at GoFundMe.com/UrbanDeath where fans and supporters can donate to the campaign to get Urban Death to the Edinburgh Fringe. Give them a buck or two. It’s great karma.