Zombies and Democracy Collide in World Premiere of Join, or Die! in Boulder

That realization led Emonds to dig into questions like "Why do we have a government? What is political science? Why is it so challenging? I spent three years basically just in a black hole of constitutional scholarship and talking with an advisory board that understands government and history," he explains. "So, yeah, I'm drinking from the fire hose of history back to the Magna Carta, just trying to figure out what it all means."

With a partner who works as a social justice organizer, questions about democracy were already part of his daily life, but the deeper research pushed him to think about how to share what he was learning with others. Rather than writing the play alone, Edmonds decided it should be created democratically.
Drawing inspiration from film director Mike Leigh’s collaborative process, he invited long-form improv actors to help build the story from the ground up. They began with a loose structure, then spent ten days improvising scenes, some of which made it into the final script almost unchanged.

"There's still improv going on," Edmonds says. "This is not my play. I just lit the fuse, and I rode the rocket like Slim Pickens in Dr. Strangelove. There's a lot of it that is my writing, but it changes every day, because I don't just say things. We usually vote on them, so that's part of the structure as well and the play is changing every day."

Actor Ayush Ghosh notes that the fluidity of the script was a refreshing change from traditional theater. “Usually, we don’t get any say,” Ghosh says. "Here, the script is living, and we’re part of shaping it.”

The play’s casting process was just as unconventional. Edmonds wrote every role without gendered pronouns or physical descriptions, allowing any actor to play any character. “I could do it, so why not?” he says. As a result of this approach, actor Mariel Goffredi, who plays Wash, got to step into the shoes of a historical figure traditionally portrayed as male.

"I'm the leader and everyone else is male-representing," Goffredi says. "So it's kind of cool that I'm the only woman, and I get to be the leader. Because Bryce blind casted everything, your gender, race, sexual orientation or age didn't matter. I was very flattered when he asked me to play this role."

This openness is part of Edmonds’ broader philosophy that art and democracy should be accessible to everyone. To that end, Join, or Die! will offer $5 rush tickets one hour before showtime if seats remain.

“Art should not depend on money," Edmonds says. "If you want to come see a play, you should be able to come see a play. Now, I understand that the economics of that is a big, lofty thought, and the reality of it is quite different in many ways, but I was in a position to do that, so why wouldn't I?"

For Edmonds, zombies have been part of his cultural DNA since his grade school played Night of the Living Dead for eleven-year-olds before sending them home in the dark. In Join, or Die!, they’re more than just monsters. The play features three different types of zombies, each a metaphor for a different "social critique." While details are kept under wraps, Edmonds promises they’ll challenge audience expectations of the genre.
The action opens with survival-horror urgency before expanding into debates over governance, compromise and respect. “Even if characters disagree, they still respect each other,” Goffredi says. “We lose that a lot in today’s society.” Ghosh adds that the story captures “the spirit of debate and how compromises are made in very heated, stressful times.”

While the premise is political, Edmonds is adamant the play isn’t partisan. “There’s no political point in there except to remind you to learn how this world works,” he says. The historical references, ranging from Locke and Hobbes to the founding of America, are balanced with modern dialogue and humor.

“It’s a zombie horror comedy,” Edmonds says. “There are heavy moments, funny moments, scary moments — just like life.”

That balance resonates with the cast. “It’s refreshing to have a play that’s talking about politics that’s not a total bummer,” Ghosh says. “A lot of plays about the current moment leave you sad. This one lets you have fun while still talking about it.”

The result is a show that aims to be as entertaining as it is thought-provoking, mixing genuine scares with sharp wit and unexpected bursts of levity. Edmonds hopes that balance will keep audiences engaged while also leaving them with something to think about long after the curtain falls.