Photo credit Nathan Hoste
‘A hallucinatory journey of dark intensity…a total, immersive sensory experience…a burning-up roar’ – WhatsOnStage
‘A thumping industrial noise-scape, a sensory onslaught…’– The Stage
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 rhythms 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.
75 mins. Colour. 3D.
Writer / Performer: Christopher Brett Bailey
Dramaturg: Anne Rieger
Composer-musicians: Alicia Jane Turner, George Percy and Christopher Brett Bailey
Lighting Design: Lee Curran
Sound Design: George Percy and Christopher Brett Bailey
Production Manager: Helen Mugridge
Producer: Beckie Darlington
Supported by Arts Council England. Originally commissioned by Attenborough Centre for the Creative Arts, Cambridge Junction, Ovalhouse, Theatre in the Mill, and Theatr Iolo. With thanks to Hackney Showroom.