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.
“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
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
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.