The Founders

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We make theatre about the now.

 

Callum O'Brien

A word that undoubtedly gets thrown around in these artist bio is ‘passion’.  It’s a noun that is often defined as 1) a strong and barely uncontrollable emotion, and 2) the suffering and death of Jesus Christ. As much as I enjoy a good crucifixion, my feelings towards the art of storytelling are more applicable to the former definition.  Nothing brings me greater joy than breathing life into a character, crafting the perfect one liners and constructing a compelling narrative for an audience.


Writing has always come naturally to me, even from a young age. My first ever “script” was yet another sequel to the ‘Alien’ franchise in which Sigourney Weaver and myself save the world from the titular monsters. I was ten years old. Growing up in rural Ireland (i.e the middle of nowhere) the only company I had was the family television, and through it I experienced stories that both excited me and expanded my tiny, isolated world. I knew then that all I ever wanted was to see my own stories come to life and played out on the big and small screen, as well as, of course, the stage. 


I have always been inspired by writers who push the boundaries of narrative convention. It is my hope to follow in the footsteps of those who allow audiences to experience their chosen medium in a new and refreshing light. The works of Phillip Ridley, Tony Kushner, Charlie Kaufman, Tina Fey, Hermann Hesse and Vladimir Nabokov have all had a profound impact on my style of writing.


My experiences as a member of the LGBT community, as an immigrant, and as a dreaded millennial greatly inform the stories I want to tell. Stories that I care deeply about, whilst giving representation to marginalised characters. And fighting aliens with Sigourney Weaver.


I like to think ten year old me is pretty proud.

 

Liam McLaughlin

Moonchild is my passion project (passion, I know). Moonchild came to be, because the planets aligned - Callum is Venus and I am Mars.

Producing, for me, is the marriage of the Producer and the Writer. I’ve always wanted my writers to have infinite freedom with their writing, knowing that I will support them however wild the idea. So far, it's worked.

Theatre has to move me. I want to feel like Winston in the 2 Minutes Of Hate.

I was inspired by Bradbury, Marrs, Dick, Huxley and of course Orwell. These writers dominate my perception of art. I want my Theatre to challenge what I believe and present an argument that I may not even agree with. So, I think that’s why Callum and I make theatre about the ‘now’. Our work is very much happening right now, but all is not what it seems. Moonchild is more about taking risks, it’s about taking it further than the risk. Taking theatre to an unimaginable land. So unimaginable that, eventually, we begin to realise that the unimaginable land begins to look a lot like the now…

P.S.

Interstellar is the greatest film in the history of mankind. (as long as I can make a play of that grandeur, I'll be happy).