“a hallucinatory journey of dark intensity… total, immersive sensory experience; behind me, a girl laments that she’s not taken any ketamine, a comment one rarely hears in the stalls…” – what’s onstage ★★★★

“if this is what hell is like it’s fucking glorious… the overall effect is one of epic, soul shaking community… work designed to push the senses to their extremes.” – the plays the thing uk

“left most astonished at the miraculous musical onslaught…enthralling in minimalism, heavy metal, prepared piano corpses and synthesised bliss.” – the sprout ★★★★★

“insanely and dangerously loud… obnoxious and totally irrelevant… it gives you one hell of a headache.” – a younger theatre

audience responses:

“If Sonic Youth remixed Rite of Spring with Burroughs telling nightmare bedtime stories. Intense + moving. GO!” 

“a hypnotic mediation on death, drenched in gallons of apocalyptic feedback”

“like being at the centre of an exorcism, a seance, and a volcano mid-eruption” 

“like finding your way off a malfunctioning industrial spacestation in the midst of a gut wrenching nightmare”

“big and brilliant. It’s the gig at the end of the world.”

 

 

 

 

 

2016 dates:

OVALHOUSE, LONDON: 6th – 11th October

THEATRE IN THE MILL, BRADFORD: 19th & 20th October

CAMBRIDGE JUNCTION: 26th October

CHAPTER ARTS CENTRE, CARDIFF: 2nd & 3rd November

ATTENBOROUGH CENTRE FOR THE CREATIVE ARTS, BRIGHTON: 24th November

 

 

 

 

 

BLURB:

 

clouds of haze and crumbling walls of transcendent noise, KISSING THE SHOTGUN GOODNIGHT is a neo-noir fever dream and 120 decibel suicide note. a juggernaut of music-theatre that eschews conventional narrative in favour of broken words, futurist soundscapes and dark psychedelia. elliptical, nihilistic sci-fi poetry gives way to a shifting sea of sonic textures and hallucinatory lighting. three musicians, piano corpses and the violent poetry of a disembodied voice. a gleeful howl from the armpits of hell. a nocturnal meditation crooned into the swollen abyss. soothing drones and crushing metal, swamps of feedback and pools of reverb, klattering rhythm and throbbing bass. a return to the womb for those who wish they could crawl back inside mother to hide.
recommended for those with an aural fixation.
no kids. no dogs. no storyline.
rated R. 75 mins. colour. 3D.

 

 

 

CREDITS:

 

composer-musicians: alicia jane turner, george percy and christopher brett bailey 

voice and words: christopher brett bailey 

dramaturg & co-director: anne rieger 

lighting design: lee curran 

sound design: george percy and christopher brett bailey 

production manager: helen mugridge 

producer: beckie darlington

poster image: nathan hoste

 

Commissioned by Attenborough Centre for the Creative Arts, Cambridge Junction, Ovalhouse, Theatre in the Mill, and Theatr Iolo. Supported by Arts Council England. With thanks to Hackney Showroom and Rebecca Atkinson-Lord.