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Shock Horror promises a thrilling, psychological adventure inspired by some of the greatest scares of stage and screen. In a perfect Halloween set-up, this play about an eerie cinema comes to our very own haunted Connaught.
Horror stories have a long and varied history in popular culture. You can read more about it in our other blog about Shock Horror and the history of horror in theatre.
We caught up with actor and founder of Thunder Road Theatre, Alex Moran, to find out more about the play and what horrors are in store for audiences this October.
What can audiences expect from Shock Horror, without giving too much away?
Shock Horror is a multimedia horror show set in a crumbling old cinema called The Metropol. It’s about Herbert (who I play) revisiting the ghosts of his childhood. Audiences can expect some rather jumpy moments, alongside special effects, illusions and the world’s most evil puppet!
Horror stories can be a creative vehicle for expressing real social and political anxieties and fears. Would you say Shock Horror does this?
Absolutely. It holds a mirror up to society through the lens of horror. It can also instil a sense of community, a ‘let’s fight the monster together’ mentality. I love this about the play: Shock Horror is a touching story about a haunted child. At its heart is a question of influence and nature vs. nurture.
What kind of horrors are in store for audiences? Would you say the play is more Woman in Black or Grand Guignol?
The Woman In Black for sure. I took huge inspiration from the show when pitching the first idea to Ryan Simons (writer). Having seen it fifteen times and falling in love with it as a child. It’s also a nod to Dyson and Nyman’s Ghost Stories too. All three have an auditorium setting which places the audience at the very heart of the action and the story.
The play utilises some pre-recorded film. How was this element of the piece developed and what inspired the choice to incorporate film?
We’re very lucky to have a creative in Ryan who has written and directed his own horror feature films to great success. He was hugely inspired by 80s horror classics like Nightmare On Elm Street, It, and The Shining when creating Herbert’s life in the cinema. We’ve also re-shot some of the film elements this year (with our director of photography Dave Hackney) to further develop the story.
What do you think makes Horror work as a genre on stage?
We love being scared. Horror stories are a unique style of storytelling – they create excitement and tension that’s very different to other stage genres. It’s also something we enjoy experiencing together with friends and family. We hold on to each other for dear life! Horror theatre has also been a huge hit with young people. It’s something I’m keen to progress further, as much as possible.
What are some of the biggest challenges you faced in creating/putting on this piece?
We’ve never settled for what we have. Despite this being our third outing, a great deal of time has been spent on each scare, trick and illusion. We cannot thank our creative team enough for this. For me personally, it’s been about finding the truth behind why Herbert’s there and what he really wants. After three years, I think I can finally say I’m much happier with his state of mind, and I don’t often say that!
