Immersive 1984 @ Hackney Town Hall

Presented in the epic and imposing surroundings of Hackney Town Hall, 1984 attempts to translate the sprawling and intense novel into a production of about an hour. Upon arrival you are provided a number badge and some instructions, then invited into the main hall space where there is a bar, and 2 performers singing country-folk inspired music. From here the production begins, first in the main area, then through additional areas of the space where some information is revealed. There are inklings of participation for the audience when there is some interaction with the performers, and being asked to stand or sit, or move spaces.

However the majority of the production is observed; it is not discovered, the audience are moved around in an orderly fashion. Moments of the story unfold, but often without context or stakes, meaning that it is hard to follow, even for those who know the book well.

The design makes exceptional use of the space, and merges video and live performance to positive effect; the design alone is not enough to create a properly immersive and engaging experience for me, however.

Viola's Room - Punchdrunk

For me, there is nothing more exciting than an immersive performance that is simultaneously intimate. Many of Punchdrunk’s previous shows have functioned on a monstrous scale, however their latest offering, Viola’s Room, takes groups of no more than 6 through an audio guided journey, which magically unfolds before your eyes. The scale of the production is no smaller (in fact, i couldn’t help but wonder at the technical prowess necessary to create this event) however it feels tiny, miniscule, like you are just happening upon it.

Each audience member is given a headset, and invited to journey the exploration barefoot, creating a sensorial exploration full of touch and smell. You’re instructed to follow the lights, which is thrilling, but at times also nerve wracking as you think you see lights, or second guess the ones you do. The combination of narration, light, and space creates the most exciting suspense throughout.

My only quibble was pacing; I think it could have benefitted from even more slow moments, even the slow ones felt quick as you take in the immense detail of the space and story.

Definitely recommend seeing this!

Bacchanalia - Sleepwalk Immersive @ St Peter's Crypt

An exciting performance space, Bacchanalia uses the basement crypt of an old church in Bethnal Green to create an immersive performance telling the story of Dionysus’ return. Using a strong physical performance vocabulary, the performers move between multiple areas while the audience, clad in black capes, are allowed reign to roam and watch where they like. There are scenes which overlap that serve one another, however there are also times where the sound bleed from one room to another is more distraction than support. Despite strong work by all performers, I found it hard to find space to watch, or to hold attention outside the the group scenes. There also seemed to be a few red herring scenes, objects or plot lines introduced that went nowhere.

On the whole, a fun experience, but with its heavy reliance on the techniques of Punchdrunk who have made great strides in the immersive space, it is hard to see that this production brought anything new to the discourse of immersive theatre.

Journey of a Refugee @ Stanley Arts

This inventive production was an absolute treat. Set in the under-construction Stanley Arts Centre in Croydon, Journey of a Refugee creates an interactive promenade performance tackling challenging issues but targeted to young audiences. The refugee crisis isn’t a light topic for adults, much less 10 year olds, yet the creative staging making use of the construction site materials and absolutely brilliant lighting design, coupled with strong choreography, and an interactive gamified experience at the end, does just that.

The production doesn’t talk down to the youth audience; rather it simplifies complex concepts through movement. The children around me were rivete throughout; the production wisely chose when to move the audience, and how to do this, creating a seamless action — this physical movement and engagement was timed perfectly to keep the kids engaged but give them space to move and stretch.

I sincerely hope this delightful production is remounted so more can see it.

Binaural Dinner Date @ University of Greenwich

How do we get to know a person? How do we fall in love?
These are the central questions to the Binaural Dinner Date, a one-to-one guided audio performance mixed with live action. Audience members are paired up as if on a blind date, and guided through a series of activities to fall in love with one another; or are they? The journey itself isn’t particularly groundbreaking, but the technical prowess of the design and execution of the performance more than make up for this. Each individual has headphones, tables are on different cycles to interact with one another and with the Waiter, and these overlap so that at times all tables are silently watching a tertiary story with the waiter’s love.

In many ways, the success of this performance is just as reliant on your partner as it is on the production — which means it can fall down quickly. That said it is a technical marvel and worth experiencing if you have the chance.

ShakespeareFest from afar

This has been a first for me; leaving a show behind to run in a city, without me.

Not to say I typically attend every performance of a show I’ve directed. Typically I’ll attend a couple times, but otherwise let them run. But somehow leaving the city, switching my brain to a new show while that team are still invested and living in the first, is. . . difficult. You are one foot in each world.

I’m so grateful to the work of my amazing team who are supporting I, Malvolio in Winnipeg. Justin’s amazing work continues to be supported and facilitated by our amazing stage manager, Leah Borchert, and two outstanding associate producers, Reba Terlson and Lizzie Knowles. Audiences are so wonderful and generous - it is heartwarming to see texts or messages from friends who are seeing it, sharing their thoughts. It is powerful work, unlike a lot of theatre experiences I’ve even had myself, so it is somewhat terrifying and feels like a bit of hubris to try to bring it to others.

There are performances remaining February 2, 3 and 5, 6, 7. Tickets are still available. This is the last show I’ll have in Winnipeg for awhile, for sure. The last one was in 2017, and before that 2015 (when I lived there…)…so at this pace it could be 2023 before I bring another. I love bringing work to my hometown, the quirky, wonderful, supporting arts community that enabled and encouraged my nonsensical experiments. That made me feel like i could challenge attending RADA, and that I could bring unique work to Toronto. I hope you all can catch one of the last performances. If you’ve already seen it, thank you. Tell a friend.

Tickets are $15, or $12 if you are a student, unemployed, artist, senior — or if you also see our host company and producing partner The Keep Theatre’s Twelfth Night (conveniently scheduled at 7:30pm nightly, so you can come straight upstairs and see our I, Malolio!). Reserve by emailing tickets@impeltheatre.com

Also, check out a zillion other bits of Shakespeare this week - I personally adored Othello, (O)Phelia, and have heard amazing things about Queen Lear is Dead. Also it HURTS that I can’t see either Hamlet that is happening.

Justin Otto as Malvolio in I, Malvolio by Tim Crouch.
Photo by Leah Borchert, audience quote from Hannah Foulger.

Now Is The Time To Say Nothing by Caroline Williams & Reem Karrsli @ Battersea Arts

We all sit in individual chairs, facing away from one another headphones on, staring at televisions. The room is dark and comfortable. Silence hugs us.

The TV tells us what to do; it filters images for us, gives us the headlines, and then pushes us beyond them. Who are the individuals affected? How are they affected? What is it like to live in a war zone, and then to choose to leave? What about those you leave behind?

It is easy for us to put war in a bucket, far away, distant. But when we are faced with the real humans impacted by it, you can’t turn away.

As the play continues, the TV guides us further, providing instruction, breaking us out of our individual nests and demanding connection. Acknowledging that sometimes we don’t have a choice, while still making the audience feel safe.

The construction of this experience is simple, but its impact lasting and powerful. See this if you can.

Upcoming: #DAMNFINEPARTY with Lost & Gone Saturday October 27th

I’m extremely excited to be supporting Lost & Gone’s Halloween Event #DAMNFINEPARTY.

Saturday October 27
1214 Queen Street West
Tickets at www.lostandgone.ca