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Playtest — work in progress

1337

One-to-one phone experience · 60 minutes · by appointment

Sixty minutes on the telephone with someone who knows the wires better than the operators do.

This call is recorded for internal creative review — see §05 and §06 for what that means and how to consent.

DURATION
FORMAT
PRICE
AGE
INTERACTION
RECORDED
CALLS FROM
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[ 01 — WHAT IT IS ]

A one-to-one phone performance, still taking shape

This is a playtest, not the finished show. 1337 is a new one-on-one interactive phone experience from Charming Stranger, and we're testing it before it opens. You'll be one of the first people to take the call — your reactions will directly shape what the final piece becomes.

At your scheduled time, your phone will ring from an “unknown caller.” On the other end of the line is a performer playing the MENTOR — a 1995-era phone phreaker who's been waiting to talk to someone like you. What follows is sixty minutes of collaborative, in-the-moment storytelling: no app, no headset, no screen, no venue. Just a voice in your ear, a world built out of dial tones and static and trust, and a conversation that exists only in that moment.

The MENTOR will push, needle, and sometimes threaten you in-story — including invented threats about hacking your phone or pulling your credit report, and some name-calling. None of it is real: nothing about your phone, accounts, or credit is ever actually touched, and you're always the one who decides how far it goes. If you've done a Telelibrary show, Candle House Collective's phone pieces, or Charming Stranger's own The Legacy, this is in that family of work — just longer, sharper-edged, and rougher around the seams, because it's still being built.

Find somewhere you can speak out loud without being overheard, for a full hour. That's the only preparation required.

"You don't know they're building a whole world out of your answers until you're already inside it." — a playtest participant, early build
[ 02 — WHO IS CALLING ]

Track record

Enthusiasts told the Immersive Experience Institute that an unfamiliar company makes attending “more of a gamble.” So — here's who's behind the wire.

I'm Cameo Wood — a filmmaker, screenwriter and immersive producer, and a Humanist celebrant working in end-of-life planning. Charming Stranger is my studio, and 1337 is being developed as part of Odyssey Works' New Frame program.

I've compiled academic research on the history and anatomy of this form — phone theatre, one voice, one listener — at anythingcanbesaid.to. Charming Stranger's own phone piece The Legacy is in the same family of work, if you'd like a sense of the register before booking.

Previous work. I wrote and directed the Emmy-winning film Real Artists. I'm a writer and co-producer on Culture House Immersive's Club Holmes, and I consult on immersive work. Work I've produced has been part of the Overlook Film Festival in 2025 and 2026.

Also producing. I'm a producing partner on two New York shows — Redwood and True Love Forever by Third Rail Projects.

The MENTOR. The performer on the line is being cast specifically for a voice that can shift shape — commanding, conspiratorial, warm, dangerous, whatever the moment demands — and real improvisational chops. They're responding to you live, not reading a script at you.

Everything you hear was written and performed by people. We do not use generative AI for the writing or the voice.

[ 03 — HOW IT WORKS ]
  1. Choose a time. Pick a sixty-minute slot from the calendar below. Slots are shown in your own timezone automatically.
  2. Leave a number. The number you give is the number we ring. It is used for this call and nothing else — no texts, no list, no second call.
  3. Answer. We call within two minutes of your slot. It will show as an unknown or withheld caller — that is standard for outbound performance calls, and it will be us. Nothing about the call will ask you for money or personal details.
  4. Stay or go. The call runs up to sixty minutes, or ends the moment you decide it does. Both are correct endings.
[ 04 — WHEN ]

Available slots

Nine days of playtesting, five sixty-minute slots each day, with twenty minutes between calls for the performer to reset. If a slot isn't showing in the calendar below, it has already gone.

Wednesday 11 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Thursday 12 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Friday 13 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Saturday 14 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Sunday 15 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Monday 16 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Tuesday 17 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Wednesday 18 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Thursday 19 November 2026

All times Pacific · 60 minutes each, 20-minute gap between calls

  • 10:00 AM
  • 11:20 AM
  • 12:40 PM
  • 2:00 PM
  • 3:20 PM

Your timezone: detecting…

Slot times above are the performance timezone, with your local equivalent underneath each one. The calendar converts too; trust the calendar over this list. We can call — wherever you are, just double-check your phone accepts calls from an unknown or withheld international number.

[ 05 — BEFORE YOU BOOK ]

Everything you might want to know

Open only what you need and stop when you're satisfied. None of this spoils the story — it's about the shape of the thing, not what happens in it. (Some of these answers may change as the piece develops — that's the point of a playtest.)

Sound and sensory loadwhat your ear is in for
Stimulation levels, low to high
Overall volumeLow Conversational throughout, with some period sound design mixed underneath.
Sudden loud soundsLow Occasional sharp tones — a modem handshake, a ring, a burst of static — but nothing louder than a phone's normal ring volume. No bangs, no shrieks, no alarms.
WhisperingLow One or two passages are quieter and more conspiratorial than the rest. You will not need to turn the volume up.
Music or ambienceMedium Analog-underground texture — dial tones, line noise, distant chatter — woven under the voice, never over it.
SilenceMedium A few deliberate pauses across the hour, the longest around fifteen seconds. The line is still open; we haven't hung up.
Visual elementsNone Nothing to look at. No flashing, no screens, no photosensitivity risk.
Scent, taste, touchNone Nothing to eat, drink, smell or handle. No allergens.

Headphones or earbuds are fine and slightly nicer than a handset. Speakerphone works too. If you use a hearing aid with a telecoil or a phone-compatible setting, this piece is built to work on it.

How much you have to dorequired — but you set how far it goes

On the four-point spectrum the field generally uses:

  • No interaction — you only listen.
  • Optional interaction — you may speak, but need not.
  • Interaction encouraged — you're invited to play along.
  • Interaction required — without you, there is no piece.← this one

You have to take part. The MENTOR is sizing you up, one exchange at a time — the call is built out of what you say, and it can't happen around you while you listen. If you want to sit back and be told a story, this is the wrong sixty minutes.

But how far you go is entirely yours. Required means you speak; it does not mean you go deep, or claim to know things you don't. A caller who answers in short sentences and stays cautious gets a whole, complete piece. A caller who wants to lean into the world and trust the MENTOR further can, and the performer will follow. Both are the show working as intended.

What you will never be asked to do: perform real hacking, provide real passwords, account numbers, or credit information, break any actual law, put on a voice, sing, be funny on demand, or answer anything you'd rather not. “I'd rather not say” is a real answer the performer is ready for. The illegal-in-1995 activity in the story is fiction — the MENTOR may encourage you, in-character, to talk as though you'd go along with something illegal inside the world of the game; you're never actually doing it, and nothing you say leaves the call.

The MENTOR may threaten you, in-fiction. Part of the tension of this piece is the MENTOR implying they could hack your phone, or pull your credit report, or otherwise expose you. This is invented for the story — no real system is ever accessed, nothing about your actual phone, accounts, or credit is looked at, and the performer does not have and will never ask for the real information that would make any of it possible.

If you need a moment, take it. And if you want the intensity turned down without ending the call, “lights up a little” does exactly that.

No preparation, no homework, no reading beforehand. You do not need to know anything about 1995, phone phreaking, or hacker culture. The MENTOR will meet you where you are.

Access, mobility and how to take the callposture, position, alternatives

You can be seated the entire time, and lying down is fine. There is no standing, walking, stair-climbing, or moving between rooms. You are never asked to go and fetch anything or to change position.

  • Holding a phone for up to an hour is the only physical demand, and you can avoid it entirely with speakerphone, a headset, or earbuds.
  • No writing, reading, or note-taking. Nothing needs to be written down. You will not be asked to remember a number or a password.
  • Nothing is asked of your hands beyond answering the call.

If voice calling doesn't work for you

Say so in the notes when you book and we will arrange it. None of these change the piece:

  • Text-message version — the same hour, conducted by SMS at your booked time.
  • Relay service — give us the relay details and we will place the call through it.
  • Live transcript — a written version of the call sent to you afterwards.
  • Slower pacing — if processing spoken language takes you longer, we will slow down. Just ask.
  • A support person on the line — an interpreter, carer, or friend may listen in or facilitate. Tell us and we will pitch the call to include them.

If you're booking on behalf of somebody else, or checking whether this would suit a partner or friend — write to us with the specifics and you'll get a real answer, not a policy.

Physical contact and personal spacenone — and what that still means

There is no physical contact of any kind, and none is possible. Nobody comes to your door. Nobody knows where you are. This is a phone call and nothing else — we will never suggest meeting, arriving, or continuing in person.

What is worth naming instead: a voice in your ear is close. An hour of one person speaking only to you, building a conspiratorial rapport, is more intimate than most theatre. The performer will use your first name if you give it, and will not use any other personal detail about you.

You can make it less close at any point. Say “lights up a little” and the performer softens — steps back from the intimacy, keeps the story going, and the call continues. That is different from ending it.

Logistics, price and what happens if something goes wrongthe practical layer

Before the call

  • Have: a charged phone, a room where you can talk aloud, sixty-five minutes of nobody needing you. A glass of water is nice.
  • Turn off do-not-disturb and any unknown-caller blocking, or we can't reach you. This is the single most common reason a call doesn't connect.
  • You do not need: headphones, an app, an account, a costume, a partner, or a quiet street.
  • Price: , because you're testing a work in progress with us. There's nothing to tip.

If something goes wrong

  • You miss the call. We ring once more three minutes later. After that the slot is released and you can rebook free.
  • The line drops. We call straight back, twice. If it won't hold, we email you to rebook — you don't lose the booking to bad signal.
  • You need to move your slot. Reply to your confirmation up to two hours before. No reason needed, no charge.
  • We have to cancel. You'll hear from us as early as we possibly can, with rebooking offered first. One performer means illness is a real risk and we'd rather say so than pretend otherwise.

Your details

Name, email, phone number and anything you write in the notes are held by our scheduling provider and by us, used only to make this call happen and to follow up for feedback, and deleted within 30 days. The call itself is audio-recorded for internal creative review — the recording is accessible only to the creative team, used only to develop the show, and deleted within 90 days of the playtest round ending. Nothing is sold, shared, or added to a mailing list unless you separately ask to join one.

Content and emotional registerread as far as you want, then stop

Tier one — the general shape. This is a tense, adversarial piece as much as a conspiratorial one. The MENTOR tests you — pushing, provoking, sometimes name-calling, sometimes threatening to expose or hack you — and the dominant feelings are risk, unease, and the thrill of being let in on a secret you're not sure you should be let in on. It isn't trying to be horror, but it is trying to unsettle you a little, on purpose.

Tier two — specific themesno plot, just subjects

The call touches on, and includes: trust and betrayal; risk-taking and its consequences; secrecy and who gets let in; simulated verbal aggression and name-calling directed at you, in character; in-fiction threats that the MENTOR could hack your phone or pull your credit report; encouragement, in-character, to talk as though you'd take illegal action within the world of the game; the analog-underground, pre-internet counterculture of 1995 phone phreaking, depicted fictionally.

None of the above is real. No real hacking happens, no real personal, account, or credit information is requested or accessed, and no real illegal activity is asked of you or takes place.

It does not contain: sexual content or harassment, suicide or self-harm, physical violence, gore, medical emergency, discussion of your own health, or slurs based on race, gender, sexuality, disability, or other protected traits.

No sudden tonal shift. The register at minute one is the register at minute sixty — tense and provoking throughout, not a twist into something else.

Because this is a playtest, some scenes or turns may not be fully polished yet — that roughness is expected, and it's what your feedback afterward helps us fix.

Age: . Book for yourself, not as a surprise for someone else — a call from an unknown number is only a delight if you were expecting it.

The terms of the call

✓ We will

  • Call only the number you give, only at the time you chose.
  • Soften the moment you say “lights up a little” — and keep going.
  • Break the fiction entirely and speak to you plainly if you say “houselights”.
  • End the call the second you ask, or if you simply hang up. No follow-up, no guilt, no are you sure.
  • Avoid anything you name in the notes when you book.
  • Tell you plainly, if you ask, that any hacking or credit-report threat in the story is fiction.
  • Delete your number, notes, and recording within 90 days of the playtest round ending.
  • Keep your recording accessible only to the creative team, used only to develop the show.

✕ We will never

  • Claim to be police, a hospital, a bank, a delivery service, a relative, or any real organisation.
  • Ask for money, real card details, real passwords, an address, or a verification code.
  • Actually access your phone, accounts, or credit report — that threat is always fiction.
  • Share your recording outside the creative team, publish it, or use it for anything but shaping the show.
  • Contact anyone but you, or contact you outside the booked slot.
  • Arrive in person, or ask you to go anywhere.
  • Pretend there is an emergency.

That second column exists because an unexpected call from a withheld number, asking you questions about a secret world, is structurally close to what a scam sounds like. Naming what this isn't is part of making it safe to enjoy.

[ 06 — BOOK ]

Take a slot

Until you tick these, nothing leaves this page: no cookies, no scripts, no tracking while you read. Ticking loads the booking calendar from calendly.com, which does set cookies of its own — the calendar will offer you its own cookie choices, and you can decline the optional ones and still book.

[ 07 — AFTER THE CALL ]

What happens next

One confirmation email with your slot and a reminder the day before. Reply to it to move or cancel.

We're going to ask you what you thought. Immersive producers rarely survey their attendees — most don't know whether their audience would come back or recommend the piece to a friend. We'd rather know. Within a day of your call, we'll send a short feedback request: what worked, what confused you, where you wanted more or less. Ten minutes, at most, and it goes straight to the people building the show.

Leave feedback after your call

A debrief if you want one. Some people want to sit with it; some want to talk about it immediately. The confirmation email is a working address and someone reads it.

Coming back. If 1337 runs again after this playtest round — including its performance dates of November 20–22, 2026 — you're welcome to book again, and it will be different every time.

[ 08 — BRING SOMEONE ]

Know someone who should playtest this?

Nine out of ten immersive enthusiasts interviewed said they recommend work privately, to one specific person they think will love it, rather than posting publicly. If that's you, here's what you need to make the match without having to describe it yourself.

Good for someone who

  • Wants to talk, not just listen — and is happy to set their own depth.
  • Likes a slow-build conspiracy, a mystery, or a mentor-and-stranger dynamic.
  • Is curious about immersive work but put off by crowds, costumes, or being chased through a warehouse.
  • Can't easily travel, or can't easily stand or sit upright for two hours.
  • Is willing to give thoughtful feedback on something unfinished.

Probably not for someone who

  • Wants a fully polished, finished show — this is a playtest, rough edges included.
  • Wants to sit back and be told a story. This one needs them in it.
  • Hates talking on the phone. This will not convert them.
  • Wants to attend as a group, in the same room, at the same time.
  • Finds an unknown number genuinely distressing.
  • Would find fictional threats about hacking or a credit report, or being called names in-character, upsetting rather than dramatic — even knowing it's not real.

Something forwardable

Tell me when there are more dates

Slots are few and they go. If the windows above don't work, ask to be told first when new ones open — you'll get an email when dates are added and nothing else, ever.

Join the waiting list

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