Chronic Insanity launches new interactive digital theatre platform

Nottingham-based theatre company, Chronic Insanity, is boldly stepping into the future of entertainment. With the launch of its digital theatre platform, FableMosh, the company is transforming how audiences experience performance art. The platform, which officially launched on March 31st, presents a novel approach to interactive theatre, combining the best elements of video games, theatre, and film.

FableMosh offers a unique twist on traditional theatre by enabling viewers to select their performers, adjusting the storyline as the performance unfolds. The platform borrows heavily from the “choose-your-own-adventure” style of video games, but with a theatrical twist. Prior to and during each performance, users can pick from eight different actors who have each pre-recorded every role. This system allows the audience to quickly adjust their casting choices without disrupting the flow of the performance, giving them unprecedented agency over the story.

With a total of six diverse shows, FableMosh explores a variety of genres—from spoken word and comedy horror to gig theatre and absurdist theatre. The platform premieres with Descension, this show, along with the others in the series, offers a deeply immersive experience that puts creative control in the hands of the audience. Each monthly release on the FableMosh platform will be available in a variety of formats, including film, podcast, and virtual reality (VR).

The platform’s first show, Descension, is now available for audiences to experience. Written by Lora Krasteva, this spoken word play uses a haunting abstract collage of audio to explore a chilling hypothetical scenario: what would happen if all the migrants in the UK suddenly disappeared? Inspired by the 2022 UK riots, Descension sets the tone for the series, which will push boundaries both in content and format.

Following the release of Descension, audiences can look forward to:

• Next is Homunculus by Joe Strickland, (28th April) a comedy horror monologue about the lengths people will go for online attention. It follows an influencer who goes viral with footage of their pet frogs, and how their search for exotic creatures to keep their followers interested ends with them creating a real-life homunculus (a little human-like creature).
•  Following that is Gigs by Doug Deans, (26th May) a gig theatre monologue backed by pounding original music that follows the relationship of a couple who love going to see live music. But with gigs being the only thing really keeping them together, what happens when this is no longer enough?
•  Then Cuckoo’s Corner by Lucy Foster (30th June), accompanied by an immersive spatial sound design, is a horror monologue of a streamer living in a block of flats having its flammable cladding removed. As the construction noises interrupt their stream and they reveal more information about themselves, it comes into question: what is real and what is making that noise?
•  Turing, To You by Jamie Drew (28th July), is a farcical comedy about the overblown functionality of most AI systems and the ongoing need for human connection. Two people, having broken up with each other recently, both turn to AIs for comfort or advice. Coincidentally, they both have also started working for separate companies that employ people to pretend to be AIs.
•  Finally, The Roger Fischer Protocol by Jack Fairey (25th August), based on the famous thought experiment, looks at the relationship between a prime minister and the person they keep around with the nuclear launch codes surgically implanted in their chest. If the need to use them arises, will the PM have literal blood on their hands, or will the code keeper have a change of heart and try to get out of fulfilling their job?

Each of these plays offers a unique perspective on the complexities of modern life, whether through humour, horror, or philosophical musings. The diversity of the themes explored ensures that FableMosh will engage a wide range of audiences, offering something for everyone, regardless of their tastes.

Chronic Insanity has always prided itself on its commitment to accessibility and inclusivity. As a queer and disability-led company, they have consistently worked to ensure that the arts are open to everyone, regardless of background or ability. With FableMosh, they continue this tradition by creating a platform that removes many of the traditional barriers to entry in the theatre world. Whether you are unable to attend in-person performances or simply prefer the flexibility of digital content, FableMosh makes it possible for people to engage with theatre in a way that suits their needs.

Joe Strickland, Artistic Director of Chronic Insanity and one of the playwrights behind the platform, explained the inspiration behind FableMosh .

“Imagine being able to choose the actors in a TV show, film, or play, customising a story with your favourite performers to create a version just for you. What if you could see more people like you in the stories you watch, connecting with the characters and living through them? This is often difficult to achieve when the character is only one person, with one set of characteristics. Many don’t realise this issue or how easily it can be addressed with a little creativity. FableMosh aims to give more agency and creative control to audiences who feel excluded from the stories society tells.”

For more information on FableMosh and to experience the first show, Descension, visit www.fablemosh.com