Raves & parties. Dancing & good vibes. Three best friends reconnect and go out raving in London, only to find the outcome is not what they expect. 6:24, inspired by true events, follows the story of Felix, Lilly & Stephano on a big night out.
“Euphoria! That was the very first time I consciously felt it. And I fell absolutely in love with it.”
6:24 was created by Aldous C. Squire. The piece was performed as part of the MishMash Festival 2024, at LAMDA (London Academy of Music and Dramatic Art). It’s a raw portrayal of the euphoric experiences we have at raves, the underlining truths of what we really mean to each other and the brutal reality of how young we all really are.
Humnah Abdullah Productions is thrilled to be facilitating the return of 6:24 to The Sainsbury Theatre, as part of MishMash. We hope this resonates to anyone whose felt the fear of losing those they love.
We caught up with Aldous C. Squire to learn more about the show.
You’ve noted that 6:24 is inspired by true events. How do you balance the responsibility of staying true to a real-life experience with the creative freedom needed to make a compelling stage play?
When I was younger, raves were the destination to go to. I’d go with what felt like everyone I knew in north London, rock up with a fiver for entry, dance all night with people I love and I’d feel for a split second time stood still. They were freeing, risky and full of life, so when I was writing this play, I wanted to capture the honest emotions those spaces offer. Everything that happens in the play is based on a true experience that I’ve either encountered, or witnessed. The responsibility of making it compelling was putting the pieces of the puzzle together to make one coherent night that these characters go through.
When I was younger, raves were the destination to go to. I’d go with what felt like everyone I knew in north London, rock up with a fiver for entry, dance all night with people I love and I’d feel for a split second time stood still. They were freeing, risky and full of life, so when I was writing this play, I wanted to capture the honest emotions those spaces offer. Everything that happens in the play is based on a true experience that I’ve either encountered, or witnessed. The responsibility of making it compelling was putting the pieces of the puzzle together to make one coherent night that these characters go through.
The title 6:24 feels incredibly specific - almost like a ticking clock. Without giving too much away, what does that timestamp represent in the journey of Felix, Lilly, and Stephano?
The play is told through the lens of Felix, who has a desire to relive his most exciting days, his youth. He fears the reality of his twenties passing him by as someone who’s been forgotten about and when he reconnects with Lilly & Stephano, his whole world speeds up again, yet he’s still trying to obtain the same feeling he felt all those years ago. I always feel as if I’m running out of time in life and what became very apparent whilst writing 6:24 is how significant it is to all of the characters. It’s everything in this play.
The play is told through the lens of Felix, who has a desire to relive his most exciting days, his youth. He fears the reality of his twenties passing him by as someone who’s been forgotten about and when he reconnects with Lilly & Stephano, his whole world speeds up again, yet he’s still trying to obtain the same feeling he felt all those years ago. I always feel as if I’m running out of time in life and what became very apparent whilst writing 6:24 is how significant it is to all of the characters. It’s everything in this play.
The specific time 6:24 refers to a moment in the play, which would spoil it if I said what it is, so you’ll just have to come and see it if you want to find out.
The play opens with a powerful quote about falling in love with euphoria. Why did you feel that the London rave scene was the right lens through which to explore the vulnerability of youth?
Your emotions can feel off the charts when you’re at a rave. You can have mad love for all of your friends, the music, the vibes. You can literally be falling in love with someone whilst your heart is beaming in the crowd full of people dancing. It can bring all of your emotions to the surface and make the outside world feel so quiet for a brief moment, as if nothing else really matters. It brings people’s inner kid out in a way, which to me is why it can feel vulnerable.
Rave culture is defined by sound, light, and movement. How do you translate that high-octane, sensory-heavy environment into a script meant for the stage?
Through the rhythmic nature of the play. A lot of it is written in poetry, with the characters bouncing off each other like a Greek chorus. The nature of this lends itself hand in hand with the fast paced feeling of what a rave is like.
Through the rhythmic nature of the play. A lot of it is written in poetry, with the characters bouncing off each other like a Greek chorus. The nature of this lends itself hand in hand with the fast paced feeling of what a rave is like.
Felix, Lilly, and Stephano represent a trio of best friends reconnecting. How did you approach writing the underlining truths of their friendship—those things that are often only said when the music is loud and inhibitions are down?
I feel like we often don’t say what we really want to in life. We hold back and have a fear of not being understood. I’ve seen it happen countless times, where someone finally plucks up the courage, using the energy of the night out to say what they’ve buried deep inside themselves. The setting of this play challenges the trio to do exactly that, leave nothing unsaid.
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| Photo by Rrita Pula |
How has the piece evolved or deepened since its first outing at LAMDA?
Massively. The play started as a 10 minute piece in 2022, then a 40 minute piece in 2024, where everything happens in a more condensed way. They travel to the rave, party, something unexpected happens and it ends.
Massively. The play started as a 10 minute piece in 2022, then a 40 minute piece in 2024, where everything happens in a more condensed way. They travel to the rave, party, something unexpected happens and it ends.
Now it’s the 3rd edition and the longest version it’s been, we’ve been able to explore each characters backstory, from Lilly’s fractured relationship with her mum, to Stephano’s experience of navigating his life away from home, to even meeting Felix’s dad Pappz who pushes Felix to focus on becoming something. The core of the story has stayed the same but the heart has grown in so many ways.
As the creator, what is the most challenging part of seeing your own memories or true events interpreted by actors on stage? Is there ever a disconnect between the memory and the performance?
It’s all challenging. It’s a personal story that we’re sharing but ultimately an important one. The actors have brought so much life into these characters that it feels easy to connect and stay with them in the moment, so I never feel disconnected to what is happening. I feel like I’m living in the past, present and the future with this piece, so I always have to have a moment to re-center myself after being in it for a long period of time.
It’s all challenging. It’s a personal story that we’re sharing but ultimately an important one. The actors have brought so much life into these characters that it feels easy to connect and stay with them in the moment, so I never feel disconnected to what is happening. I feel like I’m living in the past, present and the future with this piece, so I always have to have a moment to re-center myself after being in it for a long period of time.
The title suggests a very specific time in the early morning. What is it about that '6:00 AM' window- the transition from night to day - that serves as such a powerful metaphor for the brutal reality of being young?
I remember those early mornings when I was growing up and we’d stay up all night, to the point where the sun would make it’s first appearance and we’d wear it like a badge of honor that we made it that long. I loved it. I felt so alive and free, but at the same time like I was doing something completely wrong and that I should just be in bed. I think that contrast is important to recognise, which gives into that feeling of youth for me.
I remember those early mornings when I was growing up and we’d stay up all night, to the point where the sun would make it’s first appearance and we’d wear it like a badge of honor that we made it that long. I loved it. I felt so alive and free, but at the same time like I was doing something completely wrong and that I should just be in bed. I think that contrast is important to recognise, which gives into that feeling of youth for me.
This play will resonate with anyone who has felt the fear of losing those they love. Was that the driving force behind the writing, or did that theme reveal itself to you during the creative process?
It was always the driving force. The play is dedicated to those we have lost.
It was always the driving force. The play is dedicated to those we have lost.
You contrast euphoric experiences with the brutal reality of how young we all really are. Do you view this play as a celebration of youth, a warning, or something in between?
I honestly believe it’s all of the above. This play is vibrant and full of so much joy, but also goes through deep sadness at points. It should take you on a journey where you want to dance with us right there on stage and then the next moment curl up in your seat. It’s unapologetic, reckless and full of heart, so it must make you feel both sides of the spectrum.
I honestly believe it’s all of the above. This play is vibrant and full of so much joy, but also goes through deep sadness at points. It should take you on a journey where you want to dance with us right there on stage and then the next moment curl up in your seat. It’s unapologetic, reckless and full of heart, so it must make you feel both sides of the spectrum.
What was the first piece of theatre which had a big impact on you?
There’s two quite vivid memories that stick out for me. The first is of my dad performing a gig with his band when I was very young, maybe seven, and seeing him rock out on stage holding that space. I remember thinking he’s the coolest person in the world. It was awesome. We’re using one of his tracks from his newest album (DRIFT - Paul Kingsley Squire) in 6:24 so it feels like a nice full circle moment.
The second was when I saw People Places & Things. I remember thinking how blown away I was from the entire play. From Duncan Macmillan’s writing, to Jeremy Herrin’s direction, to Denise Gough’s acting, to Bunny Christie’s set design - the whole team involved deserve their flowers. It inspired me to be where I am today.
There’s two quite vivid memories that stick out for me. The first is of my dad performing a gig with his band when I was very young, maybe seven, and seeing him rock out on stage holding that space. I remember thinking he’s the coolest person in the world. It was awesome. We’re using one of his tracks from his newest album (DRIFT - Paul Kingsley Squire) in 6:24 so it feels like a nice full circle moment.
The second was when I saw People Places & Things. I remember thinking how blown away I was from the entire play. From Duncan Macmillan’s writing, to Jeremy Herrin’s direction, to Denise Gough’s acting, to Bunny Christie’s set design - the whole team involved deserve their flowers. It inspired me to be where I am today.
What keeps you inspired?
All the people I love in my life. But my sister especially. She’s an incredible dancer/ choreographer and she is also the movement director on this play. She had a neurological injury in 2017 where she went from dancing in class, to not being able to feel her hands and losing motion in her legs. Through rehabilitation and through her determination, she regained her strength and eventually returned to performing, as well as creating. She told me that instead of looking negatively on the awful situation, it opened up her mind and has only sparked more creativity. She has inspired me more than I think she knows and has been a strong presence to keep pushing forward, when you sometimes can’t see what’s ahead.
All the people I love in my life. But my sister especially. She’s an incredible dancer/ choreographer and she is also the movement director on this play. She had a neurological injury in 2017 where she went from dancing in class, to not being able to feel her hands and losing motion in her legs. Through rehabilitation and through her determination, she regained her strength and eventually returned to performing, as well as creating. She told me that instead of looking negatively on the awful situation, it opened up her mind and has only sparked more creativity. She has inspired me more than I think she knows and has been a strong presence to keep pushing forward, when you sometimes can’t see what’s ahead.
What would you hope someone takes away from seeing 6:24?
I’d really hope people feel inspired to tell someone that they appreciate and love them. It could be a friend, parent, sibling, relative, partner or even the stranger sitting right next to you in that theatre. It’s a roller coaster of a ride and the world is in a very tense place at the moment. 6:24 isn’t to distract anyone away from that outside world, but to hopefully make people realise how delicate those around you can be.
I’d really hope people feel inspired to tell someone that they appreciate and love them. It could be a friend, parent, sibling, relative, partner or even the stranger sitting right next to you in that theatre. It’s a roller coaster of a ride and the world is in a very tense place at the moment. 6:24 isn’t to distract anyone away from that outside world, but to hopefully make people realise how delicate those around you can be.
6:24 is part of MishMash Festival 2026 and will be performed at The Sainsbury Theatre (LAMDA) on 19th April at 2pm and 5pm. Tickets are available from https://www.lamda.ac.uk/624-mishmash-2026
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| Aldous Ciokajlo-Squire, Toto Bruin, Hiroki Berrecloth. Photo by Rrita Pula. |
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