Answering the question “What moves you?”, the atmospheric 9-minute video pieces together live action video and experimentation in nature, exploring how the urban and rural worlds collide. The one-night-only live event in East London was jam-packed, with the trio taking to the stage for a live performance and DJs keeping the party going until the early hours.

To explore the full project be sure to visit the website: www.levi.com/makeourmark/london and join project by telling Levi’s what get you moving with #makeourmark #moves.

Check out a behind the scenes video and pictures from the event below.

Be sure to check out the documentary above, exploring the creative processes behind their work as they go on a wild and weird path of discovery. The trio have been working towards a piece that’s unlike anything they’ve done before, culminating in a one-night-only, live show in London on October 9th.

Be sure to RSVP to attend the event by going to www.rsvp.vice.com/levismodernfrontier

And in the meantime, get involved by heading to the Levi’s website and share what moves you: www.levi.com/makeourmark/london or Tweet with the hashtags #makeourmark #move. Good luck!

Photography by Emily Hope.

Bounding out onto the stage to greet the assembled crowd in the Chapel’s pews, Buxton engages with the spectators right from the get-go, winning them over by lavishing them with jewellery, albeit candied jewellery which he was supplied as part of his rider.

Welcoming the atheists into God’s home and admitting to a sore threat, which he reckons came about from his mild blasphemy, the subject of illness later crops back up in a hilarious story involving Buxton’s experience with the NHS. As one half of comedy duo Adam and Joe, Buxton’s humour is strengthened when supported. In Kernel Panic, the co-star in the live show is Buxton’s laptop. Or rather, the content within his laptop that’s projected for all to see – an external projection of what runs through the comedian’s mind.

Buxton has hit upon a niche with his comedy, relevant to the digital age we are currently living in. Yet, many of his gags are – by his own admission – regurgitated from his TV show, BUG. After all, if it ain’t broke… hence the show is beefed up with plenty of amusing YouTube comments on various music videos from a wide range of artists including David Bowie, Brian Eno and Miley Cyrus, each of which is comically delivered by Buxton in an oesophagus of accents and voices.

It’s random. It’s quirky. It’s fun and it’s delightfully photo-shopped. ‘Kernel Panic’ wuzza, wuzza, wuzza top night.

Adam Buxton: Kernel Panic returns for two more shows, 11th October at The Corn Exchange, Brighton and 12th October back at the Union Chapel, London. Tickets are available from the Invisible Dot site: www.theinvisibledot.com/events/185-adam-buxton-kernel-panic

Inviting lucky guests to Ely’s Yard, just off Brick Lane, Cutty Cargo London was the first stop on a four-city tour that sees the crate take in the New York and Barcelona skylines en route to Tokyo.

69 Colebrooke Row mixologists put together some delicious whisky cocktails while burgers from MAT Liquor really hit the spot. Though with proceedings running late we had to leave before Jessie Ware took to the stage, we did catch the great art on the walls from It’s Nice That and Flat-e. Performance art skits from the Shanty Theatre Company didn’t work so well but it was still an really fun evening, catch the Cutty Cargo tour if it comes to a city near you: https://www.facebook.com/CuttySarkWhisky/app_279081025568184

Music on the night comes from Jessie Ware and Duke Dumont, MEAT Liquor and 69 Colebrooke Row will be providing burgers and booze, design, art and photography will be on show from Tom Oxley, It’s Nice That and Flat-e, while Miss Polly Rae and the Shanty Theatre Company will both perform.

Tickets are free but you’ll need to apply to be in with a chance of winning a pair for yourself. For more information head over to the Cutty Sark website: www.cutty-sark.com/cutty-cargo/

For this production, the pioneering, immersive theatre company have transformed a former Royal Mail sorting office into the other-worldly, dream factory that is Temple Studios.

The Drowned Man adapts Georg Buchner’s Woyzeck, a disturbing story of exploitation, jealousy and murder against the seedy backdrop of 1960s Hollywood. On entering the show we were given a sort of mini-plot synopsis, which revealed that simply adapting a novel for theatre was not challenging enough for Punch Drunk. They’ve also added a simultaneous narrative, which flips the male and female leads.

Knowing what I did about the nature of their productions, any hopes of following the story seemed to be hanging by a thread before it had begun, but as I came to realise, it really didn’t matter.

The most obvious thing to mention is that every audience member wears a compulsory, creepy white mask which covers the mouth. At first I thought it was simply another way of adding to the unnerving atmosphere, but they serve a much more important purpose.

From the moment I entered the show I was staggered by the attention to detail of the sets. The sheer scale and epic proportion of some of the set pieces is mind-blowing, and yet the tiny touches of personality in every discarded document, book and photo is even more impressive. I was wandering around with expressions see-sawing from mouth-wide amazement, to ear-to-ear grins. The mask hid all of this. It disguised any expression of emotion from every single member of the audience, keeping the tone of the production consistent throughout. We were silent, ghostly voyeurs, peering into a strange and beautiful world.

Now, to say the show owes a lot to David Lynch is putting it incredibly lightly. From subtle nods here and there, to an almost exact replica of the Black Lodge from Twin Peaks, his influence is littered throughout. For a fan such as myself, that wasn’t a problem at all and I was thrilled to have the chance to immerse myself in ‘Lynchian’ locations and eavesdrop on the tortured mutterings of the characters.

With regards to following the main plot, I very quickly gave up, deciding instead to follow the story of a young actor named Frankie. A small group of us ‘ghosts’ tracked Frankie on a downward spiral, from initial adoration and promises of stardom courtesy the delightfully unhinged studio directors, through to his eventual breakdown in the face of the shallow, fickle realities of Hollywood.

As Frankie’s story was coming to a close I noticed a suspicious looking doctor peer in through a window, before abruptly disappearing through a set of double doors. The chase was on. Three flights of stairs later and I’d stumbled into an expansive, moonlit woodland area with two full size caravans in it. The roof of one of them played host to a female contortionist, wrapt in some sort of demented spirit dance. I turned back to see the doctor locked in an unsettlingly intimate slow dance with a member of the audience. In the distance the dim glow of lanterns and the clinking glasses and drunk exclamations of a late night party echoed through the woods, beckoning me to explore.

I estimate that I experienced a tiny fraction of what The Drowned Man has to offer and even a number of repeat visits wouldn’t be enough to take it all in. It is really a logistical marvel of epic proportions. Whilst trying to follow the narrative can be hindered at times by the sheer volume of audience members attempting to do the same, it quickly becomes apparent that the most rewarding moments come from breaking away and chasing some of the minor characters around the more deserted areas of the set.

I’ve been furiously recommending this show to everyone and anyone. From fellow Twin Peaks fans to lovers of Coronation Street, The Drowned Man is an addictive oddity that will linger in the back of your mind for weeks, even months later.

The Drowned Man: A Hollywood Fable is a Punch Drunk production, now booking until December 20th. Tickets are available from the National Theatre website: www.nationaltheatre.org.uk/shows/the-drowned-man-a-hollywood-fable