Archive | June, 2015

Orlando’s Brave New Republic

23 Jun

Minutes earlier, I had been ballroom dancing. But now I was lying down on a grimy floor, evading surveillance and trying to figure out what the hell I was doing. In more ways than one.

For a moment, I thought, “Did I really travel 3,000 miles for this?”

defaultLet me rewind a bit. A few months ago, I caught wind of a project called The Republic. I read an article that described it as an immersive experience inspired by elements from Greek mythology, Fritz Lang’s Metropolis, and Plato’s Republic. It was described as neither being a haunted house, escape room, nor traditional stage show, with the implied suggestion that it might contain whiffs of each. It even claimed to not be immersive theatre, at least in any sort of comparative sense to anything that’s been done before. The Republic was claiming to be something completely new. I’m so there!

September 1987 --- A fan of the band Grateful Dead holds a handmade sign reading I need a miracle, hoping to get tickets to a Grateful Dead show. --- Image by © Lynn Goldsmith/CorbisThere was just one problem. There was in Florida. It debuted at the Orlando Fringe Theatre Festival, which is nowhere near me. I needed a miracle. I asked the universe, and in reply got an email a few weeks later from a colleague telling me that I needed to go to Orlando for a tradeshow, on my birthday, while The Republic was running. Boom!

republic_front-doorNOTE: the rest of this post does not contain any explicit spoilers, but I do flirt dangerously with disclosing the nature of what happens. If you’re planning on seeing this show, and want a completely pure experience, then you’ve been warned.

On the day of the show, I received an email directing me to a nondescript warehouse near downtown Orlando. My drive was accented by a torrential downpour complete with Zeus-worthy lightning bolts that seemed somehow appropriate. I’m from California. Weather’s a novelty.

By the time I arrived, a queue of guests had already formed outside the entrance, and we went through the increasingly common waiver signing formality before being allowed to enter. Once inside, we surrendered our cell phones and entered an anteroom where we were provided with a new identity and reminded about the rules of engagement. In short, explore, ask questions, and get involved in the action.

57205429I am totally fascinated by the idea of immersive theatre. It blends storytelling, technical enhancement, and interactivity in a way that generally doesn’t exist outside the theatrical world except to a limited extent in some theme park and haunted attraction experiences. Ordinarily, attaching a genre to experiences that are attempting something groundbreaking is a restrictive and empty exercise, but it can still provide some useful context. As a baseline most productions tend to interpret it as a theatrical experience without chairs. The idea is that the elimination of the construct between the audience and the players allows for a deeper level of involvement with the drama. When it works, it can be tremendously effective. When it doesn’t, it might make you wish you had your chair back.

… if you want to

… if you want to

More ambitious productions add a layer of multiple rooms and encourage guests to do a certain amount of free roaming. In theory, the drama can potentially branch in multiple directions causing you to choose a single narrative thread at a time to follow. Some productions go even further by requiring guests to participate in the action by carrying props and executing other simple, scripted interactions.

In these types of shows, guests may have dramatically different experiences depending on the decisions they make, and may feel like they’re attending a totally different show upon repeat viewings. However, the net effect is really a partial glimpse of what is essentially a larger static narrative. The Republic does all of these things, but they’re just getting started.

Game Over Man

Game Over Man

What makes The Republic different is that each guest is required to play an active role that has the potential to redirect the outcome of the narrative. This is a pretty giant step forward from simply being up close and personal to the action. The creators compare their show to a video game, and this shared sense of agency is at the heart of it.

When the show began, we were told that we were recruits, and in the first “scene,” each guest was assigned to one of the cast members who would be training and evaluating us for inclusion within the Republic. I had been concerned about the emphasis on role playing, but the role of a trainee was easily accessible even if the context was essentially bizarre and cryptic.

do-you-like-me-yes-noEarly on, I was given a task to surreptitiously hide a folded-up note in a separate room. The room itself was a dead end, so I couldn’t go off on a tangent of wild exploration, but it did allow me to be alone for a brief moment. It may seem obvious, but I realized that I had been presented with an unspoken choice on whether to read the note before hiding it.

I decided to read it, and I was conscious of the time it was taking me to read it, since I was only supposed to be hiding it. Once I returned, it did not feel like an appropriately confidential time to discuss what I had read. The fact that I had read the note at all may have suggested that I had betrayed a certain confidence. The character who handed me the note did not ask me whether I had read it. I was completely in my own head over this one simple task, but I was digging it. This was immersive and exciting!

jawsIn a subsequent scene, when I was able to get some time alone with my assigned character, I asked him about the note and our conversation yielded a treasure trove of information including many tantalizing new clues and facts to piece together. It made me wonder what would have happened if I hadn’t read the note. What would our conversation have been like? I caught a glimpse of the myriad possibilities and twists and turns, and my experience was just one perspective out of 20+ guests in the context of something that might or might not have happened in the first 5-10 minutes of a 90 minute experience. You’re probably starting to get the idea of how big this thing could be.

clip_image001_0001In order to pull something like this off, the creators would have had to essentially create an all-encompassing universe that could account for dozens of permutations that could be communicated, interpreted, and executed on the fly on a minute-by-minute basis by actors who are basically improvising almost 100% of the time. It’s like a single game of Dungeons & Dragons with 20 Dungeon Masters and 20 players, played in 20 different rooms all at the same time with frequent reshuffling of all components. That’s huge. Like head-spinningly crazy. Which is probably why it ultimately didn’t totally work. For me at least.

russian-block-button-shows.siIf I had to theoretically reverse-engineer this beast, the principal challenge becomes how to reconcile what could easily become a freeform exploration of chaos theory. Periodically, there seemed to be narrative inflection points, roughly occurring at the end of an “act” in theatrical parlance, although that ship sailed long ago. These moments temporarily aggregated all the players in a single room and forced various narrative threads into some form of interim resolution. Think of it as a metaphorical reset button that attempted to contain the rapidly spiraling madness.

In theory, this is a clever mechanism. In practice, I personally felt somewhat more unmoored each time until I felt utterly disconnected from the show. The story might have been reconciled, but my role in it usually became less clear. Unfortunately, that tended to create something of a vicious cycle for me: the further I felt from the momentum of the story, the harder it was for me to jump back on the merry-go-round. I’m willing to share some of the blame for this for not trying hard enough to engage or re-engage, and at some point, I must have hit a personal limit. Or maybe the heat inside that warehouse had finally scrambled my brains out of my ears. There were no mirrors so I couldn’t be sure.

So did I like it? Well, it’s complicated. It’s important to remember that this debuted at a Fringe Theatre festival that provides a “safe” place to try out all kinds of crazy stuff that would be skewered in the context of the traditional stage scene. Not all of it is going to work. And when it does work, as it did for me in the initial scenes, it was stunning.

HYDRA_alt_1I give this team a ton of credit for creating this thing in the first place. I can imagine the B.S. sessions where people were saying, “What if we riffed on Plato’s Republic and inserted a bunch of characters from Greek mythology and rendered them against a German Expressionist backdrop and involved the audience, but totally let them feel like they were directing the action so that we’d basically be improvising 100% of the time so that each night we’d basically be putting on a new show.” Believe it or not, people have these kinds of crazy ideas fairly often. However, it’s a small handful who have the balls to actually follow through and try to raise the money, develop the concept, find the space, build the team, train the actors, build the set, and the hundred other things needed to bring this fully-grown Hydra to life.

To Team Republic: Thank you for having the courage to try something so audacious.

I find myself continuing to think about it. I honestly think that the creators should launch an online message board that could be like a support group for guests to share their experiences and riff on theories. There’s a lot going on here.

metropolis_masters_of_cinema_series_2010_atf_2_bigBut the final test of whether this thing worked — I would probably see it again. Now that I have a handle on what’s going on and how it works, I’d do some things differently. I’d be curious to further test my own boundaries as a guest. I’d want to see the rooms I probably never got to see, and interact with characters that I only saw in passing. It felt like a world worth returning to, although I’m pretty sure I wouldn’t want to live there.

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Into the Further: Virtual + Reality

10 Jun

captain-picard-full-of-win-500x381“Dude, how did you score those tickets?!”

I held the phone in disbelief.

I had heard about Into the Further 4D, a traveling, pop-up, virtual reality experience promoting the upcoming horror flick, Insidious: Chapter 3. That’s just a bunch of adjectives that you don’t usually see in the same sentence describing the same event, so I wanted in.

It was going to be in LA for a brief three days in May, and here’s the thing, the tickets were free, if you could figure out how to get them. After trying some broken promo codes, I had basically given up, until my friend called to save the day. He never really answered my question. It didn’t matter. We were going.

We showed up at a parking lot on the edges of Downtown LA just before noon on a Sunday, pretty much the most unhaunted time and setting to experience anything.

insidious_trailers_resize

Conveniently located next to Urgent Care

There were a couple of connected trailers that looked similar to the ones at last year’s Purge: Breakout escape room event. Blumhouse Productions is behind both events as well as 2013’s Purge: Fear The Night immersive theater production. Based on their track record, they are establishing a reputation for producing events that mashup horror with experiences not typically associated with horror. When they roll into town, you can pretty much expect that it will not be your run-of-the-mill haunted house.

NOTE: This event is gone, and it’s probably never coming back, and you’ll probably never get to see it, so spoilers will follow. make the world_front

I’ve been lurking on the periphery of the virtual reality scene since the first time I tried Oculus Rift at the 2013 NeuroGaming Conference and Expo. As an interactive experience designer, the lure of the latest and greatest technologies is a perpetual temptation and the siren song of VR can seem irresistible.

The amazing part about VR is how it can make the world around you totally disappear. The challenging part about VR, especially in terms of location-based entertainment, is how it can make the world around you totally disappear. It’s an uphill battle to provide guests with a form of entertainment that can essentially be experienced in their living room. Unless you replace the living room.

insidious_trailers_entry_resizeBack to the parking lot. We had reservations for a specific time window, but VR is generally not a high-throughput venture, and to maximize the horror, we were told that we would walk through alone. So we waited. And anticipated. And postulated. What on earth was going on inside that trailer?

The facade of the trailer was designed to look like a front door, and walking through it brought me inside the house of Elise, the paranormal investigator/medium from the first two Insidious movies. I waited as another inner door swallowed guests one at a time, and eventually me.

I entered a short, dark, narrow hallway and was accosted by an assortment of pops, air blasts, loud noises, etc., designed to put you on edge. I turned the corner and a ghoulish figure burst out, screamed at me that I had to help her, and directed me down a longer hallway toward a numbered door.

ins2The tiny chamber was cramped, dimly lit, and filled with all kinds of bric-a-brac that evoked the home-gone-wrong feel of the films. A monitor turned on and played a short video introducing the upcoming VR experience. A previously unseen door opened and another ghoulish and relatively sedate character beckoned me forward and into a chair facing a familiar red door. Seconds later, I was in the Rift, heading into the Further. Or so I thought.

The first thing I saw in VR was the same door that existed in reality. It opened and I “moved” through it and into Elise’s sitting room. She was waiting and warned me of some of the bad things that were afoot. Then things started to get real spooky including a few good scares that took full advantage of the immersive quality of the experience. There were some 4D effects including seat rumblings, and at one point, (I’m guessing) the assistant lightly brushed my arm in time with something wispy floating by. When things were about to get crazy, it faded away, and I was back, looking at the real door and being guided toward the exit.

The whole experience only lasted a few minutes, but it felt like something significant had been achieved. Haunted houses, 4D, and VR are nothing new to me, but combining all of them felt like a breakthrough. Even if it was basically a highly sophisticated movie trailer, this modest whole was definitely larger than the sum of its parts. I was satisfied with what I had seen, and curious about where it could go.  But before I launched headlong into the future, I found myself momentarily thinking about the past.

train_1I recalled a story I heard in film school. About 120 years ago, a couple of brothers were trying to figure out something cool to do with their Cinématographe — one of the first devices to resemble a motion picture camera. One of the first pieces that they screened was a short clip of a train arriving at a station, evocatively titled, “Arrival of a Train.”

The apocrypha would have us believe that some of those audience members from two centuries ago ran in terror from the theater because they thought the train would burst through the screen. I remember thinking, “That can’t possibly be true.” These were sophisticated Europeans with elevated tastes, and this was after all a shot of a train arriving at a station. Nevertheless, although it’s hard to imagine standing in their shoes in that darkened room, I wanted to believe that the truth of their reaction probably landed somewhere between the abject terror of the legend, but far from mute indifference.

kerzeA more fruitful daydream is that everybody in that room knew that they had just seen something that they’d never seen before, and that they felt like they could see that much further into what this new, crazy thing could be. And each of those early viewers might have got something out of it, talked about it with their friends who hadn’t seen it, forgotten it, or got hooked at the gills. Except they didn’t have blogs back then.

VR is out of the living room. Reality just got that much more virtual. It will be interesting to see what happens next.

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