![]() ![]() The director, Felix Barrett, likens it to a decompression chamber where guests acclimatise to their new world before being set free in it. Guests continue upstairs to a pitch-black maze of fabric-lined corridors. They are directed to a coat check and then to the front desk, where they’re given a playing card. The entrance to the building is marked with a small plaque on the wall.Īudience members step through a large pair of doors and find themselves in a dimly lit corridor. ![]() A bar on the second floor called the ‘Manderley’ provides rest and respite from the chaos of the other locales. Each character plays three one-hour loops, returning to their initial location at the end of each hour. The cast includes about twenty-five actors, who adopt the dress and aesthetic style of the late 1930s, inspired by the shadowy atmosphere of film noir. The show covers 100,000 sq ft and includes about a hundred rooms. One of these involves Agnes Naismith, a young woman who arrives in town to search for her missing sister. There are several sub-plots, which occasionally interconnect with the main story. The main story of Macbeth takes place throughout the building, but is primarily based on the first three floors. The name ‘McKittrick’ is taken from Hitchcock’s ‘Vertigo’. The high street on the fourth floor is called Gallow Green, after an area in Paisley where six people were hanged for witchcraft. There are five floors of action and some of the rooms are dressed as outdoor spaces, located in the town of Glamis in Scotland. The show is based on Shakespeare’s Macbeth and is also influenced by the films of Alfred Hitchcock and the Paisley witch trials of 1697. ![]() Six weeks before opening, and two days after the outbreak of World War II, the legendary hotel was condemned and left locked, permanently sealed from the public. ‘Completed in 1939, The McKittrick Hotel was intended to be New York City’s finest and most decadent luxury hotel of its time. The history of the hotel is detailed in the programme notes – ‘Sleep No More’ is performed in an old warehouse in Manhattan’s Chelsea neighbourhood, which has been transformed into a dimly-lit, 1930s establishment called The McKittrick Hotel. The photographs are mostly from the New York show, but some are from the Boston and Shanghai productions. They’ve been pieced together from various blogs and websites, which are listed at the bottom of the page. The following notes are about the character loops in the New York version of ‘Sleep No More’, a play by Punchdrunk Theatre. Our collaborators Adam Mayer and Shelby Arnold (both of NYCResistor) did incredible work building the actuated typewriter.Catherine Campbell The Bellhop The Porter Tod Machover, Punchdrunk, Akito Van Troyer, Ben Bloomberg, Gershon Dublon, Jason Haas, Elena Jessop, Brian Mayton, Eyal Shahar, Jie Qi, Nicholas Joliat, and Peter Torpey. Our goal was to manifest their vision in the online realm by bringing elements of the play in real-time to the remote participants, while also enhancing the experience of the onsite audience.įor more on Sleep No More, see the New York Times review. In their work, Punchdrunk seeks to create a unique, memorable and emotional experience for each audience member. The portals were set objects with magical powers that could be activated by the joint presence of a pair of participants among them: a 1930’s typewriter that could type itself in response to voice queries, a one-way mirror on which handwriting would appear, an old radio that the online participant could remotely tune, and an actuated ouija board. The pairs communicated through specially-designed portals embedded in the set as well as through each onsite participant’s augmented mask. Our project added an online platform through which remote (online) participants were paired with individual audience members onsite during the show. ![]() foot space to follow individual characters and storylines or closely examining the details of the intricately-designed set. Punchdrunk’s acclaimed New York production of Sleep No More invites masked audiences to move through the narrative as it unfolds, walking freely through the nearly 100,000 sq. In a special collaboration between the Punchdrunk theatre company and the MIT Media Lab, we experimented with new ways of connecting physically present audiences with remote, internet-connected ones. ![]()
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