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Podcast 13mins

F**ked Up Bedtime Stories (for adults) EPISODE 7: Breathe – An Audio Journey by Amy Jephta

“Listen only to my voice. Listen to the sound it makes. Concentrate on the next word: NUMB”

It’s been a stressful time. You want to unwind. That’s understandable. You want to escape. You deserve it. To lose yourself… Dissolve.. Disintegrate… Break down. Don’t be scared. Just focus on the voice. The voice is the only thing you can hear. The voice is your whole world. Don’t be scared…

Amy Jephta’s Breathe – An Audio Journey is an audio experience unlike any you’ve encountered before. So sit back, relax, and let us take you down the dark alleyways of your mind.

Written by Amy Jephta

Read by Amber James

Directed by Jennifer Bakst

Sound, Music and Editing by Max Pappenheim

CONTENT WARNING – This audio drama contains disturbing scenes and explicit descriptions of disordered sleep and sleep paralysis.

Search for F**ked Up Bedtime Stories on Acast, Apple Podcasts and Spotify (or wherever you get your podcasts!)

Amy Jephta’s previous theatre credits include This Liquid Earth: A Eulogy in Verse (Royal Court Theatre/Edinburgh Festival Fringe), All Who Pass, Shoes (Royal Court Theatre), Kristalvlakte (The Fugard Theatre), Flight Lessons(Jermyn Street Theatre/ Theatre503/Edinburgh Festival Fringe) and Free Falling Bird (Bush Theatre).

Amber James’s theatre credits include Snowflake (Kiln Theatre), Vassa (Almeida Theatre), A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), A Streetcar Named Desire (ETT), Antony and Cleopatra, Titus Andronicus and Dido, Queen of Carthage (RSC), Two Gentlemen of Verona (Shakespeare’s Globe & International tour), Much Ado About Nothing (Queen’s Theatre) and The Gathered Leaves (Park Theatre). For television, her work includes Doc Martin and Ransom.

Creative Associate at English Touring Theatre Jennifer Bakst is a director and dramaturg. She was previously New Work Associate at Kiln Theatre. Her theatre credits as a director include Dear Future Generation (Kiln Theatre Young Company), Armstrong’s War (Finborough Theatre) and theatre work with young prisoners for the Synergy Theatre Project. Her credits as an associate director include Handbagged (Kiln Theatre/59E59 New York) and The Great Wave (National Theatre)

Max Pappenheim‘s theatre includes The Night of the Iguana (West End); The Way of the World (Donmar); The Children (Royal Court/Broadway); Waiting for Godot (Sheffield Crucible); Macbeth (Chichester Festival Theatre); Dry PowderSex with StrangersLabyrinth (Hampstead); Ophelias Zimmer (Schaubühne, Berlin/Royal Court); Crooked Dances (Royal Shakespeare Company); One Night in Miami (Nottingham Playhouse); Hogarth’s Progress (Rose Theatre Kingston); The Ridiculous Darkness (Gate Theatre); The Gaul (Hull Truck); A Kettle of Fish(Yard Theatre); CommonWealth (Almeida); Creve Coeur (Print Room); Switzerland, Spamalot, The Glass Menagerie (English Theatre of Frankfurt); Mrs Lowry and Son(Trafalgar Studios); My Cousin Rachel, The Habit of Art, Monogamy, Teddy, Toast, Fabric, Invincible (National Tours). Opera includes Miranda (Opéra Comique, Paris); Scraww (Trebah Gardens); Vixen (Vaults/International Tour); Carmen: Remastered (ROH/Barbican). Radio includes Home Front (BBC Radio 4). Associate Artist of The Faction and Silent Opera.