What do you after you Turn On, Tune In, Drop Out? Well, you go and Find The Others.
Last May 2017, I flew to London for the staging of Cosmic Trigger — The Play , a sheer delight for any Robert Anton Wilson fan, a masterpiece of high weirdness befitting the book it derives from. The experience proved to be more mind-shattering and category-defying than I could have ever imagined. A 23-night run hosted at The Cockpit Theatre, the play is an ambitious theatrical event: an intense four-hour long immersive happening, an experimental and multi-layered metafiction, intellectually challenging and spiritually intoxicating, a disorienting dance of Discordian confusion and uncanny mindfuck. An extraordinary cast of actors created a colourfully wild, merry parade of countercultural icons—along with Robert Anton Wilson and his wife Arlen, Robert Shea, Timothy Leary, Alan Watts, William Burroughs, Albert Hoffman, John Lilly, Jacques Vallee, Aleister Crowley—in brief, great fun!
Not only that, Cosmic Trigger — The Play has the inherent magical qualities of a collective ritual or mass initiation: it is "a narrative so utterly complex and so thoroughly self-referential that it becomes to all intents and purposes alive." As magicians know, " by doing certain things certain results will follow."
Hail Daisy Campbell!
The mastermind behind such a unique endeavour and artistic achievement is director Daisy Campbell, who pulled some cosmic and genealogical strings to bring her vision to life. Daisy is the daughter of the late famed British director Ken Campbell, who achieved notoriety in the 1970s for his nine-hour adaptation of the epic science-fiction trilogy Illuminatus! Read the rest