Tag Archives: Orlando

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.

The Source of Magic at IOA’s Wizarding World of Harry Potter

14 Jan

Singing into the wind. Bailing out the Titanic with a teacup. That is the sense of futility I feel when it comes to sharing something insightful that hasn’t already been said about The Wizarding World of Harry Potter at Universal’s Islands of Adventure. The entire production is an unqualified success from the Butterbeer to Bertie Bott’s Every-Flavour Beans; from the Forbidden Journey to Filch’s Emporium. It’s a feast for the senses worthy of the Great Hall at Hogwarts, and cannot fail to delight even the most studious and persnickety of fans.

As much as I gaped, marveled, delighted, and thrilled at everything I was experiencing, there was one detail, which I keep coming back to that crystallizes the strong sensibilities at work here. After having made my way through Hogsmeade a few times, I kept noticing a building with a modest line outside of it. I’m sure with a bit of investigation, or perusing the park map, or asking a cast member, I could have figured out what it was, but I did none of these things, and decided to just allow myself to be surprised. About every ten minutes or so, the doors to the adjoining building would open, about 30 guests would be allowed in, and the doors would close again. Curiosity piqued.

When it was my turn to enter, I found myself in a dark room with walls lined from floor to very tall ceilings with shelves crammed with narrow, rectangular boxes. As I soon discovered, I was in Ollivander’s Wand Shop. A young guest was selected, and the rest of the audience was entertained with ten minutes of immersive theatre. The guest is placed into the position of a young wizard choosing a wand (or being chosen by a wand) and experiencing the necessary trial and error that ensues during the selection process. As we observe, wand/wizard mismatches can have chaotic consequences, and the show is punctuated by tasteful special effects that occur throughout the room. Before long, wand and wizard are well-met, and the guests are ushered into the “real” Ollivander’s where they sell real items in exchange for real money.

So why is it that in a land that features one of the most technologically sophisticated attractions on the planet, an exquisitely themed restaurant complete with a bar that sells real alcohol, and an infinity of detailed exteriors and interiors, I was so taken by this bit at Ollivander’s? The answer is simple. The decision to showcase this particular component of the Harry Potter mythology demonstrates a true respect and understanding for the material and why it resonates with our culture.

Imagine the blank sheet of paper. Now imagine the task of selecting from among the thousands of pages and dozens of hours that comprise the seven, often massive, volumes and eight epic films of the Harry Potter series. At the very least, it’s an awesome undertaking to distill that into a handful of experiences to unify in a themed environment.  However, at the heart of all those pages and frames and at the soul of that phenomenon is the universe of answers suggested by a simple articulation and the question it raises, “The world is a magical place, but what if I could learn to control it?” It’s no accident that Harry Potter takes place in modern-day England and not on another planet, or in the distant past, or a parallel universe. The allure of Harry Potter is the not-so-childlike hope that maybe this could be real. As we live vicariously through the young heroes (and villains) of the story, their entry point into this world that we desire is Ollivander’s. More so than Platform 9 3/4, Ollivander’s is where desire meets destiny, and the realization of one’s dream becomes personal. Selecting this vignette shows tremendous insight and sensitivity to what really matters in this epic story.

However, the execution is equally stunning. It’s a very low-profile attraction, and it’s easy to miss. You can easily enter the real store through an alternate entrance and be none the wiser of what’s happening in the adjoining room. This deliberate understatement in an environment of overload is a very tasteful design decision, and makes the experience feel even more special. Granted, it is somewhat of a holy grail to deliver guests a personalized, intimate experience in theme parks, but the sheer numbers of guests often make this an impractical goal, and tends to be at odds with another hallmark of theme park design: consistency. This makes the choice to use the modality of immersive theatre even more daring. Attractions have been breaking the 4th wall for generations as a technique to kickstart an immersive experience. From the Ghost Host and the talking skull to Indy and Evac, we have been personally invited to enter the story instead of just watch from afar. However, beloved as those characters are, they’re still a step removed from us, no matter how amazing the technology gets. Quite literally bringing Ollivander’s to life creates an impact that is not soon forgotten even if you are not the chosen one (and chances are, at my age, it’s gonna have to be a pretty slow day.)

I don’t mean to suggest that the techniques used at Ollivander’s are unique in the theme park world. The hundreds of cast members at any major park provide a unique and constant presence in myriad interactions that is easily taken for granted, but in fact lies at the core of seamless immersive experiences. However, there is nevertheless a harmony of theme, execution, and restraint at Ollivander’s that is uniquely transcendent, noteworthy, and inspiring. Pure magic.

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