Felix Barrett

It was called The Moonslave. And it started with an invitation being sent to come to a theatre, a town southwest of England, to come to a theatre to see a show called The Moonslave. And we invited press and Arts Council, the main funding body. So they thought it was a bog-standard show, turned up expecting a normal sit-down proscenium art show.

arrived after dark to this sleepy little theater no other cars in the car park walked in inside the theater addressed auditorium seats for 200 programs lights on no one there so they waited around for a while got a bit spooked thankfully all of them stayed and then a phone rings up on the stage and they

arrived after dark to this sleepy little theater no other cars in the car park walked in inside the theater addressed auditorium seats for 200 programs lights on no one there so they waited around for a while got a bit spooked thankfully all of them stayed and then a phone rings up on the stage and they

arrived after dark to this sleepy little theater no other cars in the car park walked in inside the theater addressed auditorium seats for 200 programs lights on no one there so they waited around for a while got a bit spooked thankfully all of them stayed and then a phone rings up on the stage and they

amongst the set they find a parcel that's addressed to them inside that parcel they unwrap it it's a phone that says your driver's waiting outside and then they leave the auditorium again get into the second car waiting with a masked chauffeur they get into the back of that car the car speeds off and drives into the countryside and there in the back of the car a narrated soundtrack symphonic soundtrack begins on the car stereo and that's the true beginning of the show

amongst the set they find a parcel that's addressed to them inside that parcel they unwrap it it's a phone that says your driver's waiting outside and then they leave the auditorium again get into the second car waiting with a masked chauffeur they get into the back of that car the car speeds off and drives into the countryside and there in the back of the car a narrated soundtrack symphonic soundtrack begins on the car stereo and that's the true beginning of the show

amongst the set they find a parcel that's addressed to them inside that parcel they unwrap it it's a phone that says your driver's waiting outside and then they leave the auditorium again get into the second car waiting with a masked chauffeur they get into the back of that car the car speeds off and drives into the countryside and there in the back of the car a narrated soundtrack symphonic soundtrack begins on the car stereo and that's the true beginning of the show

And then for the next hour, they're driven around, dropped off in the middle of the countryside, given a headset, so the story and the symphonic soundtrack continues. And they go through this vast walk through forests and countryside, culminating in a massive sort of pyrotechnic finale. MUSIC PLAYS

And then for the next hour, they're driven around, dropped off in the middle of the countryside, given a headset, so the story and the symphonic soundtrack continues. And they go through this vast walk through forests and countryside, culminating in a massive sort of pyrotechnic finale. MUSIC PLAYS

And then for the next hour, they're driven around, dropped off in the middle of the countryside, given a headset, so the story and the symphonic soundtrack continues. And they go through this vast walk through forests and countryside, culminating in a massive sort of pyrotechnic finale. MUSIC PLAYS

When it's revealed they're not actually by themselves, they're actually surrounded by 200 scarecrows. And it was, we actually ended up shooting a marine flare into the sky to reveal, to turn the sky red for 15 miles. So it's all about crescendo and expectation and intimacy.

When it's revealed they're not actually by themselves, they're actually surrounded by 200 scarecrows. And it was, we actually ended up shooting a marine flare into the sky to reveal, to turn the sky red for 15 miles. So it's all about crescendo and expectation and intimacy.

When it's revealed they're not actually by themselves, they're actually surrounded by 200 scarecrows. And it was, we actually ended up shooting a marine flare into the sky to reveal, to turn the sky red for 15 miles. So it's all about crescendo and expectation and intimacy.

I suppose when I go and see, I can think back about the sort of five pieces of theatre that blow me away. And there's that sensation you get when it's really high quality, well thought out, well crafted art. that's visceral, that connects emotionally. It's almost like that sort of weird, that nexus where everything connects and you get this one sublime moment.

I suppose when I go and see, I can think back about the sort of five pieces of theatre that blow me away. And there's that sensation you get when it's really high quality, well thought out, well crafted art. that's visceral, that connects emotionally. It's almost like that sort of weird, that nexus where everything connects and you get this one sublime moment.

I suppose when I go and see, I can think back about the sort of five pieces of theatre that blow me away. And there's that sensation you get when it's really high quality, well thought out, well crafted art. that's visceral, that connects emotionally. It's almost like that sort of weird, that nexus where everything connects and you get this one sublime moment.

I can feel that in my body now if I think about it. And all I want to do as a maker is to give audience members that sensation. And it's difficult to find. And so maybe I just go a different route to trying to source it. But I think I'm just the same as any other director. It's just, you know, you just want your audience to be lost in the work you create.

I can feel that in my body now if I think about it. And all I want to do as a maker is to give audience members that sensation. And it's difficult to find. And so maybe I just go a different route to trying to source it. But I think I'm just the same as any other director. It's just, you know, you just want your audience to be lost in the work you create.

I can feel that in my body now if I think about it. And all I want to do as a maker is to give audience members that sensation. And it's difficult to find. And so maybe I just go a different route to trying to source it. But I think I'm just the same as any other director. It's just, you know, you just want your audience to be lost in the work you create.

They have sex. Yep, I think every show we've done, there's been some sex. Yep.