The London Horror festival
This Halloween, a brand new event comes to London to celebrate everything about live theatrical horror entertainment. We met with Stewart Pringle and Tom Richards, the two guys behind the festival to find out more :
ScareTOUR - What is the London Horror Festival?
Stewart Pringle - The London Horror Festival is the UK’s first dedicated festival of horror in the performing arts. It’s an independent festival celebrating and exploring emerging theatrical work in the horror genre, bringing together dark comedies, psychodramas, as well as range of more experimental performances. There’s been a thrilling explosion of interest in onstage horror in the past few years, and Theatre of the Damned feel very privileged to be a part of that, and to have the opportunity to create a platform for like-minded writers, directors and companies to display their work.
Tom Richards – Exactly. We’ve seen first hand just how many companies and performers are now getting into this genre, and we thought it would be great if rather than just doing another show of our own (which we are – Revenge of the Grand Guignol will run throughout the Festival) we could find a way to bring as many people as possible together under one roof. Fortunately when we took the proposal to the Courtyard they were as excited as us, and they’ve more-or-less given us carte blanche in terms of structuring the Festival and booking acts. It’s going to be really interesting to get to meet some of the other people out there and see how they’re approaching the material, and to exchange ideas for staging, effects, scripts and so on.
Scare TOUR - What can we expect to see?
SP - Everything from flesh-eating zombies to dark absurdist farce. There’s more than 10 productions over 5 weeks with an emphasis on new writing and new interpretations of classic horror literature and drama. We have the premiere of a new stage adaptation of H P Lovecraft’s The Dunwich Horror, a terrifying new play called The Woods Are Lovely in which a middle-class English couple meet the holiday-maker from hell in a desolate cabin, we have Possession is Nine Tenths which is an incredibly inventive farce that reads like Beetlejuice with the cast of Shameless, a Persuaders meets Hammer Horror show called The Monster Hunters and a selection of re-imagined Grand Guignol classics by repertory company Nouveau Guignol.
We’ll also be bringing our own new show, Revenge of the Grand Guignol, which is the most extreme and adventurous production we’ve ever staged. It’s shaping up to be something really special and we’re looking forward to scaring the living hell out of London with it.
TR – I can’t tell you how much I’m looking forward to The Monster Hunters. We’ve seen the same team’s Doctor Who material before, and loved it, and we know they know classic horror cinema inside out. If Hammer, Amicus and so on are your thing, don’t miss it. Zombie Science is another one I find really interesting, in the way they’re playing with the audience and their expectations. In the shameless plug department, we’re thrilled with the scripts for Revenge, we’ve got a sensational cast together, and if it isn’t the best work we’ve ever done I’ll be sorely disappointed.
Finally, there are some potentially fantastic projects that I can’t talk about because they’re not 100% confirmed yet, but if they do come off they will be amazing, so keep an eye on the Festival website/Twitter feed/Facebook page for announcements.
Scare TOUR - What can you tell us about Theatre of the Damned?
SP - Theatre of the Damned was formed by Tom and myself a couple of years after we left university. We’d staged a horror production called A Night at the Grand Guignol back in 2006 and were interested in creating a company dedicated to exploring the potential of onstage horror and above all of treating the genre with the same high level of production values and the same serious intent as we’d expect in any form of theatre. Theatre of the Damned produce intense, serious horror theatre with incredible performers and considerable technical ambition. We don’t believe horror cinema has the monopoly on the genre, and we don’t believe horror onstage has to be camp or knowing. There’s a lot of potential in just aiming straight down the line to frighten, disturb and challenge, and that’s what we try to do.
TR – All our work to date has been based on the repertoire of the Théâtre du Grand Guignol, which was a Parisian theatre of horror which ran from the 1890s to the 1960s, producing evenings of short horror plays in a wide variety of styles – psychological thrillers, spooky atmosphere pieces, splatterfests, and even quite a number of slapstick-heavy sex farces. In their heyday, from shortly before the First World War up until the outbreak of the Second, they did some really outstanding work. André de Lorde, especially, is in our opinion something close to a forgotten great playwright.
We do a mixture of direct translations of original Grand Guignol scripts with only minor cuts, significantly looser adaptations, and entirely new material. In particular, the old farces no longer work in conjunction with the horror pieces, because extra-marital sex is no longer a transgressive subject in the way it was then. The comedy did serve an important function, unsettling the audience by toying with their expectations, but to achieve that now we have to write new, extremely dark farces that fit better into the show as a whole.
We don’t intend to be solely a Grand Guignol company – we’re working on several larger scale long form projects for the future – but I think it’s something we’ll always come back to.
ScareTOUR - With the popularity of the now closed Ghost Stories - what do you think is the difference between theatrical and cinema scares?
SP – In the cinema there’s a level of distancing which robs horror of so much of its potency. Mike Myers might be stalking towards you with a butcher knife or Sadako might be crawling out of a television, but they’re not right there in front of you, they’re not really a threat. It’s even worse on DVD because you can just pause the action and make yourself a cup of tea. In the theatre you can control an audience absolutely, you can make them watch and take them on a journey. We’ve had people faint in our shows and we’ve had people leave the auditorium in tears and to vomit – they’re extreme reactions but if you’re generating them legitimately (not just throwing guts at the crowd or performing tedious torture-porn nonsense) there’s nothing more thrilling.
TR – I think there’s also an extent to which people are now so used to special effects in cinema that they just shrug them off. However well conceived and realistic the effect may be, it’s hard to shake the awareness that it’s not real. But if you can pull something spectacular off live, right in front of an audience, you can achieve a completely different level of visceral shock. We work with a brilliant magical double act called Morgan and West [http://www.morganandwest.co.uk] to devise and rehearse our stage effects, and I think the results are pretty impressive. As Stew rightly says, effects that aren’t demanded by the narrative are worthless and empty at best. But when they are there because they need to be there, in the service of the story, well-executed live effects can produce an incredible reaction in an audience.
ScareTOUR - Why November? is this deliberate to avoid Halloween?
SP – Well we open on the 25th of October so there’s the chance to catch a few shows on Halloween weekend, but we really see Halloween as the launching point for the festival. Halloween’s fantastic but we want the festival to run on through the winter, as the nights draw in and London gets colder. The time between Halloween and Christmas is so brilliantly creepy, it’s a time for ghost stories and for frightening yourself a little.
TR – Not much to add to that. We had to decide whether to open or close the Festival with Halloween, and we decided opening was the way to go.
ScareTOUR - Why do you think people like being scared?
SP – I think there are a few reasons. Firstly, it makes you feel alive. I know that’s a cliché but I think it’s an accurate one. It pushes your buttons and makes you think about things you might not want to, and it gets your pulse racing. If it’s done well it can be an incredibly memorable experience: everyone remembers the first time they were truly afraid.
TR – That varies wildly depending on what type of fear you’re talking about. The more physical, direct stuff – the is-the-killer-going-to-get-him/her/me business – is all about adrenaline: as Stew says, everything works faster and that’s exciting on a very basic, animal level. But there are also more intellectual types of fear – the dawning realization that something awful has already happened, or the awareness of your own complicity in a terrible act – that work in another way. There it’s about confronting parts of yourself that you don’t usually like to admit exists in a context that on some level you know is ultimately safe.
ScareTOUR - You obviously like being scared yourselves - do you visit scare attractions?
SP – Not as often as I’d like to, and I haven’t been to one for a while, but I’ve always loved them. As a child I’d visit the York Dungeons at least once a year (I think I went over 20 times) and I loved Terror Towers at Scarborough. Our current lighting designer Seb Blaber runs his own temporary horror mazes so I’m hoping to visit one of those soon, and try to see some of the London attractions this year.
TR – One of my favourite childhood memories is from my school’s Christmas fairs, when I was about 9 or 10. The junior changing rooms were in a really dark, dingy basement, with lots of twists and turns and small rooms and a few of the teachers used to spend days beforehand turning them into dungeons or mad scientists’ labs, then one of them (a slightly creepy chap at the best of times) would lead tours round them, while the others lurked in shadows or jumped out with bloody surgical instruments and fake organs and God knows what else. It was brilliant. Like Stew, it’s been a little while since I went to one. Probably one of the Edinburgh tours at Fringe time a few years back would be the most recent.
ScareTOUR - What is your favorite type of Horror? Torture porn, paranormal?, J- Horror?
SP – I like a lot of different types, but my favourite is the anthology or portmanteau film. I love all of the Amicus ones and particularly Asylum and From Beyond the Grave, which I suppose is why the Grand Guignol format appeals so much. Hammer Horrors are also big favourites, as well as folk-horror pieces like Blood On Satan’s Claw. But I cut my teeth watching a lot of 80’s splatter, Troma movies and Euro-horror; Argento, Fulci, even Jess Franco got quite a lot of play. To be honest the only stuff I don’t like is the torture porn stuff, and I know that’s not a very popular term. I don’t think it’s sick and wrong, just boring.
TR – Again, I like a lot of different things. When I was a teenager, my thing was really the 80s slasher movies, which was really my way into horror cinema, but while they’re still great trashy fun that wouldn’t be my choice now. I have a massive soft spot for Hammer, and Peter Cushing is without question the greatest horror performer of all time for me (I’m pretty sure Stew would agree). From the daft (Dracula AD1972) through the mixed (Vampire Lovers) to the legitimately brilliant (Frankenstein Must Be Destroyed) I love it all. Except Blood Beast Terror. Not even Cushing could rescue that. Recently, I’ve started to get very into folk horror: Wicker Man is probably my favourite horror film at this point, with stiff competition from the likes of Night of the Living Dead, The Thing and the aforementioned Frankenstein Must Be Destroyed. The best Western horror movie of recent years is without a doubt Drag Me To Hell. Unless you count Rambo, which in a strange way I almost would. Pan’s Labyrinth is another which is unquestionably brilliant but only arguably horror. Like Stew, I’m leary of torture porn. Cannibal Holocaust is a great film, because it has intelligence and purpose. Most other splattersploitation work, new and old, doesn’t, and I really don’t have much time for it as a result.
ScareTOUR - What are your future plans for the London Horror Festival in the future?
SP – We’d love it to become an annual event, with more shows and potentially satellite venues to accommodate them. There are plans for one or two site-specific pieces for this year’s festival which should be confirmed soon, but there’s so much more that could be done once we’ve proven the model works. One thing we’d really like would be to get some family-oriented stuff running too, to make the festival more inclusive and diverse.
TR – We’d like to branch out a bit in terms of form, as well. We’ll hopefully have some goth/death/doom-type bands playing this year, but we’d like to have magicians doing séance material or body horror, maybe a short film competition, maybe some horror-themed improv acts, that sort of thing. Horror theatre will always be the focus, the core of the Festival, but we want to be as inclusive as possible.
ScareTOUR - Any big names you'd like to get involved with?
SP – There’s quite a few people Theatre of the Damned would like to get involved with, people we admire and who we’d love to work with. As far as the festival’s concerned though, for us it’s about the freshness and quality of the companies and the artists we’re booking rather than looking out for ‘names’ as such. We want to see exciting, boundary-pushing scripts and ideas, and give them somewhere to exist and attract a receptive audience.
TR – This is an independent festival on the London Fringe, so I don’t know that it’s ever likely to attract big name acts as performers, but there are people it would be fantastic to have giving lectures or seminars. As far as Stew and I in our capacity as Theatre of the Damned go, yes, absolutely. Working with Hammer on a film would be an absolute dream, and we’ve got some ideas we’re planning to pitch to them. Of the unholy trinity of great classic horror actors, Cushing and Vincent Price are dead, and I think Sir Christopher Lee is probably at an age now where the rigours of performing on stage night after night would be too much, so that will never happen, sadly, but there are certainly actors and directors out there who we would absolutely love to collaborate with.
ScareTOUR - When are tickets on sale?
SP – Tickets for Revenge of the Grand Guignol are on sale now (http://www.thecourtyard.org.uk/whatson/184/revenge-of-the-grand-guignol) and tickets for the rest of the festival will go up in the first week of September.
TR – What he said. Based on how our previous shows have gone, we’d definitely recommend that people book early, especially for the weekend performances.
ScareTOUR - How do we find out more?
SP- We’ll be announcing the whole programme at the end of August, and there’ll be a load more information released then too, so make sure you check out http://www.londonhorrorfestival.com. You can also follow us on Twitter @lndnhorrorfest to be kept up to date with all the news.
TR – Not forgetting Facebook, at http://www.facebook.com/LondonHorrorFestival and http://www.facebook.com/event.php?eid=175561165834045. You can also follow me on Twitter @tomofthedamned, and the Theatre of the Damned account @theatreofdamned.
ScareTOUR will be arranging a group visit to the Lonon Horror Festival in November. Once all the acts have been confirmed we will finalise a full itinerary and visit date. In the mean time - register now for more interest.
ScareTOUR - What is the London Horror Festival?
Stewart Pringle - The London Horror Festival is the UK’s first dedicated festival of horror in the performing arts. It’s an independent festival celebrating and exploring emerging theatrical work in the horror genre, bringing together dark comedies, psychodramas, as well as range of more experimental performances. There’s been a thrilling explosion of interest in onstage horror in the past few years, and Theatre of the Damned feel very privileged to be a part of that, and to have the opportunity to create a platform for like-minded writers, directors and companies to display their work.
Tom Richards – Exactly. We’ve seen first hand just how many companies and performers are now getting into this genre, and we thought it would be great if rather than just doing another show of our own (which we are – Revenge of the Grand Guignol will run throughout the Festival) we could find a way to bring as many people as possible together under one roof. Fortunately when we took the proposal to the Courtyard they were as excited as us, and they’ve more-or-less given us carte blanche in terms of structuring the Festival and booking acts. It’s going to be really interesting to get to meet some of the other people out there and see how they’re approaching the material, and to exchange ideas for staging, effects, scripts and so on.
Scare TOUR - What can we expect to see?
SP - Everything from flesh-eating zombies to dark absurdist farce. There’s more than 10 productions over 5 weeks with an emphasis on new writing and new interpretations of classic horror literature and drama. We have the premiere of a new stage adaptation of H P Lovecraft’s The Dunwich Horror, a terrifying new play called The Woods Are Lovely in which a middle-class English couple meet the holiday-maker from hell in a desolate cabin, we have Possession is Nine Tenths which is an incredibly inventive farce that reads like Beetlejuice with the cast of Shameless, a Persuaders meets Hammer Horror show called The Monster Hunters and a selection of re-imagined Grand Guignol classics by repertory company Nouveau Guignol.
We’ll also be bringing our own new show, Revenge of the Grand Guignol, which is the most extreme and adventurous production we’ve ever staged. It’s shaping up to be something really special and we’re looking forward to scaring the living hell out of London with it.
TR – I can’t tell you how much I’m looking forward to The Monster Hunters. We’ve seen the same team’s Doctor Who material before, and loved it, and we know they know classic horror cinema inside out. If Hammer, Amicus and so on are your thing, don’t miss it. Zombie Science is another one I find really interesting, in the way they’re playing with the audience and their expectations. In the shameless plug department, we’re thrilled with the scripts for Revenge, we’ve got a sensational cast together, and if it isn’t the best work we’ve ever done I’ll be sorely disappointed.
Finally, there are some potentially fantastic projects that I can’t talk about because they’re not 100% confirmed yet, but if they do come off they will be amazing, so keep an eye on the Festival website/Twitter feed/Facebook page for announcements.
Scare TOUR - What can you tell us about Theatre of the Damned?
SP - Theatre of the Damned was formed by Tom and myself a couple of years after we left university. We’d staged a horror production called A Night at the Grand Guignol back in 2006 and were interested in creating a company dedicated to exploring the potential of onstage horror and above all of treating the genre with the same high level of production values and the same serious intent as we’d expect in any form of theatre. Theatre of the Damned produce intense, serious horror theatre with incredible performers and considerable technical ambition. We don’t believe horror cinema has the monopoly on the genre, and we don’t believe horror onstage has to be camp or knowing. There’s a lot of potential in just aiming straight down the line to frighten, disturb and challenge, and that’s what we try to do.
TR – All our work to date has been based on the repertoire of the Théâtre du Grand Guignol, which was a Parisian theatre of horror which ran from the 1890s to the 1960s, producing evenings of short horror plays in a wide variety of styles – psychological thrillers, spooky atmosphere pieces, splatterfests, and even quite a number of slapstick-heavy sex farces. In their heyday, from shortly before the First World War up until the outbreak of the Second, they did some really outstanding work. André de Lorde, especially, is in our opinion something close to a forgotten great playwright.
We do a mixture of direct translations of original Grand Guignol scripts with only minor cuts, significantly looser adaptations, and entirely new material. In particular, the old farces no longer work in conjunction with the horror pieces, because extra-marital sex is no longer a transgressive subject in the way it was then. The comedy did serve an important function, unsettling the audience by toying with their expectations, but to achieve that now we have to write new, extremely dark farces that fit better into the show as a whole.
We don’t intend to be solely a Grand Guignol company – we’re working on several larger scale long form projects for the future – but I think it’s something we’ll always come back to.
ScareTOUR - With the popularity of the now closed Ghost Stories - what do you think is the difference between theatrical and cinema scares?
SP – In the cinema there’s a level of distancing which robs horror of so much of its potency. Mike Myers might be stalking towards you with a butcher knife or Sadako might be crawling out of a television, but they’re not right there in front of you, they’re not really a threat. It’s even worse on DVD because you can just pause the action and make yourself a cup of tea. In the theatre you can control an audience absolutely, you can make them watch and take them on a journey. We’ve had people faint in our shows and we’ve had people leave the auditorium in tears and to vomit – they’re extreme reactions but if you’re generating them legitimately (not just throwing guts at the crowd or performing tedious torture-porn nonsense) there’s nothing more thrilling.
TR – I think there’s also an extent to which people are now so used to special effects in cinema that they just shrug them off. However well conceived and realistic the effect may be, it’s hard to shake the awareness that it’s not real. But if you can pull something spectacular off live, right in front of an audience, you can achieve a completely different level of visceral shock. We work with a brilliant magical double act called Morgan and West [http://www.morganandwest.co.uk] to devise and rehearse our stage effects, and I think the results are pretty impressive. As Stew rightly says, effects that aren’t demanded by the narrative are worthless and empty at best. But when they are there because they need to be there, in the service of the story, well-executed live effects can produce an incredible reaction in an audience.
ScareTOUR - Why November? is this deliberate to avoid Halloween?
SP – Well we open on the 25th of October so there’s the chance to catch a few shows on Halloween weekend, but we really see Halloween as the launching point for the festival. Halloween’s fantastic but we want the festival to run on through the winter, as the nights draw in and London gets colder. The time between Halloween and Christmas is so brilliantly creepy, it’s a time for ghost stories and for frightening yourself a little.
TR – Not much to add to that. We had to decide whether to open or close the Festival with Halloween, and we decided opening was the way to go.
ScareTOUR - Why do you think people like being scared?
SP – I think there are a few reasons. Firstly, it makes you feel alive. I know that’s a cliché but I think it’s an accurate one. It pushes your buttons and makes you think about things you might not want to, and it gets your pulse racing. If it’s done well it can be an incredibly memorable experience: everyone remembers the first time they were truly afraid.
TR – That varies wildly depending on what type of fear you’re talking about. The more physical, direct stuff – the is-the-killer-going-to-get-him/her/me business – is all about adrenaline: as Stew says, everything works faster and that’s exciting on a very basic, animal level. But there are also more intellectual types of fear – the dawning realization that something awful has already happened, or the awareness of your own complicity in a terrible act – that work in another way. There it’s about confronting parts of yourself that you don’t usually like to admit exists in a context that on some level you know is ultimately safe.
ScareTOUR - You obviously like being scared yourselves - do you visit scare attractions?
SP – Not as often as I’d like to, and I haven’t been to one for a while, but I’ve always loved them. As a child I’d visit the York Dungeons at least once a year (I think I went over 20 times) and I loved Terror Towers at Scarborough. Our current lighting designer Seb Blaber runs his own temporary horror mazes so I’m hoping to visit one of those soon, and try to see some of the London attractions this year.
TR – One of my favourite childhood memories is from my school’s Christmas fairs, when I was about 9 or 10. The junior changing rooms were in a really dark, dingy basement, with lots of twists and turns and small rooms and a few of the teachers used to spend days beforehand turning them into dungeons or mad scientists’ labs, then one of them (a slightly creepy chap at the best of times) would lead tours round them, while the others lurked in shadows or jumped out with bloody surgical instruments and fake organs and God knows what else. It was brilliant. Like Stew, it’s been a little while since I went to one. Probably one of the Edinburgh tours at Fringe time a few years back would be the most recent.
ScareTOUR - What is your favorite type of Horror? Torture porn, paranormal?, J- Horror?
SP – I like a lot of different types, but my favourite is the anthology or portmanteau film. I love all of the Amicus ones and particularly Asylum and From Beyond the Grave, which I suppose is why the Grand Guignol format appeals so much. Hammer Horrors are also big favourites, as well as folk-horror pieces like Blood On Satan’s Claw. But I cut my teeth watching a lot of 80’s splatter, Troma movies and Euro-horror; Argento, Fulci, even Jess Franco got quite a lot of play. To be honest the only stuff I don’t like is the torture porn stuff, and I know that’s not a very popular term. I don’t think it’s sick and wrong, just boring.
TR – Again, I like a lot of different things. When I was a teenager, my thing was really the 80s slasher movies, which was really my way into horror cinema, but while they’re still great trashy fun that wouldn’t be my choice now. I have a massive soft spot for Hammer, and Peter Cushing is without question the greatest horror performer of all time for me (I’m pretty sure Stew would agree). From the daft (Dracula AD1972) through the mixed (Vampire Lovers) to the legitimately brilliant (Frankenstein Must Be Destroyed) I love it all. Except Blood Beast Terror. Not even Cushing could rescue that. Recently, I’ve started to get very into folk horror: Wicker Man is probably my favourite horror film at this point, with stiff competition from the likes of Night of the Living Dead, The Thing and the aforementioned Frankenstein Must Be Destroyed. The best Western horror movie of recent years is without a doubt Drag Me To Hell. Unless you count Rambo, which in a strange way I almost would. Pan’s Labyrinth is another which is unquestionably brilliant but only arguably horror. Like Stew, I’m leary of torture porn. Cannibal Holocaust is a great film, because it has intelligence and purpose. Most other splattersploitation work, new and old, doesn’t, and I really don’t have much time for it as a result.
ScareTOUR - What are your future plans for the London Horror Festival in the future?
SP – We’d love it to become an annual event, with more shows and potentially satellite venues to accommodate them. There are plans for one or two site-specific pieces for this year’s festival which should be confirmed soon, but there’s so much more that could be done once we’ve proven the model works. One thing we’d really like would be to get some family-oriented stuff running too, to make the festival more inclusive and diverse.
TR – We’d like to branch out a bit in terms of form, as well. We’ll hopefully have some goth/death/doom-type bands playing this year, but we’d like to have magicians doing séance material or body horror, maybe a short film competition, maybe some horror-themed improv acts, that sort of thing. Horror theatre will always be the focus, the core of the Festival, but we want to be as inclusive as possible.
ScareTOUR - Any big names you'd like to get involved with?
SP – There’s quite a few people Theatre of the Damned would like to get involved with, people we admire and who we’d love to work with. As far as the festival’s concerned though, for us it’s about the freshness and quality of the companies and the artists we’re booking rather than looking out for ‘names’ as such. We want to see exciting, boundary-pushing scripts and ideas, and give them somewhere to exist and attract a receptive audience.
TR – This is an independent festival on the London Fringe, so I don’t know that it’s ever likely to attract big name acts as performers, but there are people it would be fantastic to have giving lectures or seminars. As far as Stew and I in our capacity as Theatre of the Damned go, yes, absolutely. Working with Hammer on a film would be an absolute dream, and we’ve got some ideas we’re planning to pitch to them. Of the unholy trinity of great classic horror actors, Cushing and Vincent Price are dead, and I think Sir Christopher Lee is probably at an age now where the rigours of performing on stage night after night would be too much, so that will never happen, sadly, but there are certainly actors and directors out there who we would absolutely love to collaborate with.
ScareTOUR - When are tickets on sale?
SP – Tickets for Revenge of the Grand Guignol are on sale now (http://www.thecourtyard.org.uk/whatson/184/revenge-of-the-grand-guignol) and tickets for the rest of the festival will go up in the first week of September.
TR – What he said. Based on how our previous shows have gone, we’d definitely recommend that people book early, especially for the weekend performances.
ScareTOUR - How do we find out more?
SP- We’ll be announcing the whole programme at the end of August, and there’ll be a load more information released then too, so make sure you check out http://www.londonhorrorfestival.com. You can also follow us on Twitter @lndnhorrorfest to be kept up to date with all the news.
TR – Not forgetting Facebook, at http://www.facebook.com/LondonHorrorFestival and http://www.facebook.com/event.php?eid=175561165834045. You can also follow me on Twitter @tomofthedamned, and the Theatre of the Damned account @theatreofdamned.
ScareTOUR will be arranging a group visit to the Lonon Horror Festival in November. Once all the acts have been confirmed we will finalise a full itinerary and visit date. In the mean time - register now for more interest.
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