Tag Archives: Screenshot Productions

My Year of Walking Through Darkness: Part 2

3 Nov

Birth: check. Death: check. And now onto the business of living. Confused? Read Part 1.

bruce-lee-quote-darkness

3. The Rope (October 2016)

hqdefault-2It’s increasingly common to see “horror” experiences on nearly a year-round basis, but the best work tends to be saved for October. Amidst these high expectations and as a follow-up to last year’s debut, this year’s “signature” show did not disappoint, despite having scant resemblance to anything that had come before it.

The Rope seemed intent on changing up many of the fixtures found at earlier experiences. First, they managed to deliver many of their personal, solitary experiences in the context of a larger group of six. I thought that the intimate nature of the experience would be compromised by the group dynamic, but it was mostly intact. Second, and more interestingly, this was the first production that truly led with story. Previous productions had narratives & themes, but felt more impressionistic, open-ended, and rawly experiential. By contrast, The Rope had characters, backstories, plot lines, settings, literal setpieces, and other trappings that one would typically expect from “theater.” Before you go off thinking that they were getting all Tennessee Williams on us though, where it got interesting is that the show was also a game.

After an introductory scene, we were each given a separate mission to locate somebody in the story world and perform some action. We would receive special items as a result of completing tasks, and were directed to periodically check in with a sage character for more guidance. The various character encounters had interactive components that sometimes required choices that seemed to alter the outcome of the overall story. In the final scene, all of the guests were reunited as a group and shared our tokens with a final character who provided closure and parting wisdom about both our individual and collective experiences.

The production design was more ambitious and varied than in prior productions and provided an appropriately surreal backdrop to this journey to a fantasy time & place. And as would be expected, everything was tinged with a dark intensity that never allowed you to completely feel at ease, in a good way. This was October after all.

All in all, it was an enjoyable and unexpected way to spend an evening. The various experiments: group experiences, game mechanics, stronger storylines all felt well-considered and were more successful than not. However, in embracing a more traditional framework, they took on some of the heavy lifting that goes with it. In an impressionistic, solitary experience, a good portion of the show ends up happening inside your own head. There isn’t really a good way to tell a story halfway, and it felt like there were some troubling loose ends. Afterward, I had a conversation with one of my fellow seekers that started with him saying aloud to no-one in particular, perhaps just the building in which we had just spent the last hour, “Does anybody else here feel just a little bit frustrated?”

There were spurts of story, teases of backstory, vapor trails of character arc, that just-woken-from dream sense that you kind of get what’s going on, and the dawning realization that you don’t. That hunger for a full meal not just a succession of artful plates. I wanted to know more about everything I had heard and everyone I had met, and I had the sinking feeling that I wouldn’t, or worse that there was nothing left to know.

2. Fear Is What We Learned Here (October 2015)

film-leader-21I can remember it so clearly. Parking my car on the unfamiliar suburban street near an address that I had only been provided in the past day. Walking alone up a dark path, carefully following the provided directions to choose the right path at appropriate landmarks, and finally approaching the figure wearing a black robe, standing silently. Waiting for me. And thinking to myself, “Now what?!”

Fear Is What We Learned Here was a fresh installment in the type of solitary, extreme horror experience pioneered by BLACKOUT. It mixed a dark minimalist sensibility with clever low-tech effects and artful touches in a way that was beautiful, disorienting, exhilarating, and unexpected. All of this was executed with a homegrown sensibility that felt raw and unpredictable, and even a bit dangerous in a way that most productions can never achieve. It was the show I felt luckiest to have experienced in 2015, and I couldn’t stop thinking about it. It exceeded many of my expectations of what I could want from this type of show, and helped set a new standard of what I would want to experience in the future.

So why wasn’t it #1?

1. Shoshin (May 2016)

hqdefaultAfter Parturition‘s relatively disappointing follow-up to Fear‘s dark splendor, I was wary of Shoshin. From what scant information that was shared beforehand, it seemed to be an immersive theater show about Zen Buddhism. Huh? Exactly. Should I sit this one out? Have these guys gone off the rails? Did I have them all wrong? Was Fear a lucky hit? But it was May; October was months away, and I could hear the darkness calling.

I found myself in the same neck of the woods that I had been to for Fear, and some of the setups were familiar. Show up to an address, don a robe hanging from a tree, and wait to see what happens. I flowed into a 90-minute mostly outdoor walking journey staged in plain sight in the green areas of a suburban community. I was fascinated to see the tropes of extreme horror seamlessly applied to an introspective odyssey of self-discovery and reflection that was challenging but gentle, strict but instructive. In the same way, that we have discovered that we must ultimately be alone in order to truly face that which we fear, Shoshin draws a similar parallel of intensity and gravity to the lifelong process of an individual’s search for meaning.

The format of the show was a procession through various stations and activities, some of which were entirely self-guided and without any performers. I did not feel rushed at any point and considering it was springtime in Southern California, it was mostly a pleasant, if not slightly peculiar way to spend some much-needed time outdoors. The final scene occurred indoors where I was an audience of one to an intense keyboard and vocal performance that was absolutely stunning. It was oddly cathartic — I occasionally return to that moment, and how unique it has been in my experiences.

On one hand, it would be easy to fault Shoshin for a reliance on other ideas — in this case, the book Zen Mind, Beginner’s Mind, from which it borrows liberally for much of its script. But the genius of Shoshin lies in how it brought those abstract theoretical ideas to life and made them interactive and compelling. I actually came away wanting to learn more about meditation, something that probably would have never happened if I had just tried reading the book.

Above all, this was my favorite show because of how absolutely different it was from Fear. It would have been easy for them to keep phoning it in and delivering dark, solitary, horrifying experiences, and I’d probably keep going to them. But Shoshin was a gutsy gamble that almost seemed designed to fail. Instead, the result was spectacularly transcendent. It not only broadens what can be achievable in a context of darkness and intensity, but elevates the potential of immersive theater across the board.

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Thank you to Screenshot Productions for your tireless ambition and fearless experimentation.

Ever seeking light, I look forward to whatever comes next.

My Year of Walking Through Darkness: Part 1

27 Oct

I was born, actualized, terrified, seeking, and died all in one year. Just not in that order.

In the past 12 months, I’ve participated in five experiences produced by Screenshot Productions, a prolific newcomer to the immersive theater scene. I’m a terrible person for not having blogged about any of their shows until now, so I’m trying something different — a retrospective ranking of their shows to date and a crack at collectively evaluating them as an evolving body of work.

i-601-waiver-devil-in-detailsFirst, some overall context. Los Angeles continues to be one of the best places to experience what can be loosely described as extreme haunted attractions. Unlike traditional haunted houses which are designed to accommodate hundreds if not thousands of guests per hour, these experiences are designed for smaller groups, and sometimes just individuals. They frequently require you to sign a personal liability waiver that allows them to break down traditional barriers by permitting them to touch you and generally subject you to more bodily intense treatment than would ever be allowed at most theme park events or family-friendly/amateur offerings. I’ve written about some of them before, and when they’re executed well, they can be uniquely thrilling and impactful experiences. I’m not going to beat around the bush, Blackout: elements was life-changing.

Last Fall, as “the season” was approaching, I was fortunate to have been given a tip to follow the Instagram page @whatwelearnedhere. This began a series of email exchanges that culminated in my favorite haunt experience of 2015, amidst a crowded and talented field (Alone, Wicked Lit, LA Haunted Hayride, to name a few outstanding options.)

What happened next was delightfully unexpected. In the subsequent year, I experienced four more productions from this tireless and ambitious group and was charmed, mystified, thrilled, and provoked by their work. Moreover, it became increasingly difficult to generically classify their shows as “haunted” or “horror” or “scary” although aesthetically, they continued to be strongly informed by those sensibilities. Instead, through a medium of intense one-on-one interactions in a milieu of dreadful uncertainty, I found myself absorbing philosophical teachings and having mild therapeutic breakthroughs. Hardly your typical haunted house.

That said, I occasionally came away feeling that they hadn’t quite hit the mark, even as their efforts have greatly expanded the scope of what is achievable with immersive theater. In every show, I feel like I see something I’ve never seen before, even if the execution is not perfect. And that’s why I keep coming back.

So, from least favorite to most favorite in my extremely personal opinion, here is what we learned in the past year.

stock-footage-leader-countdown-recorded-on-get-old-film-projection-bad-projector5. Parturition (January 2016)
This was their second show. On one hand it was the much-anticipated follow-up to their Fall 2015 experience which took everybody by surprise. After the true horror of the Christmas season, and the subsequent nationwide cultural hangover that is January — the announcement of a new show was a beacon of hope, even if it seemed to have been pulled together in a shockingly short period of time.

Parturition, a fancy word for giving birth, promised to be a show about being born. And they had introduced a new twist, after purchasing the ticket, you had the option of electing whether you wanted to do the experience in the nude, as in “naked as the day you were born.” Guests would participate one at a time, and there was also a small questionnaire with somewhat personal questions that set an expectation that each experience might be personalized.

Although I have ranked this fifth, I don’t necessarily think it was a bad show, but it nevertheless fell short for me. It felt like a series of beats that were loosely strung together, and none of them felt fully realized. It did not seem that any of the information that I had provided had actually been used to personalize the experience, which felt like both a missed opportunity and a failed expectation. In the climactic scene, you meet “your mother” in what is a tender counterpoint to the chaos and sensory overload of the preceding scenes. This was an atypically soothing and intimate exchange with a performer, not some cheap, disingenuous bait-and-switch to a horrific last laugh. As special as this scene was though, I still felt that it didn’t achieve its full potential. The experience ended, in what would evolve as a signature closing beat to many of their shows, with a precious moment of silent reflection before re-entering the normal world where I was no longer a newborn.

I left the experience with mixed feelings. I felt like they had rushed to pull this together and it showed. However, it was the first time I’d seen the tropes of horror and extreme experiences applied to a non-horror narrative. For me, it blew open a door that we’ve been sitting outside for the last few years. And through it, I could see a vast space to explore.

hqdefault4. Bardo Thodol (September 2016)
This was their fourth show, and the pragmatist in me couldn’t help noticing how close it was to what should really be their signature show of the year in October. I was concerned that like Parturition, it might have been rushed.

Bardo Thodol is the Tibetan Book of the Dead, a Buddhist text. From the typically cursory information provided beforehand,  I understood that this show would concern my recent passage into the afterlife after dying. Whether intentional or not, it could be seen as a bookend of sorts to Parturition. Like Parturition, I received a questionnaire beforehand, but this one was much more incisive and personal, and the responses demanded thought and reflection. I was also directed to download some  audio files and have them ready for playback for the experience itself, without listening to them beforehand — a delicious exercise in self-restraint. I’m a huge fan of engaging the experience before it actually begins, so all was good so far.

The experience itself began on a crowded city street, outside a nondescript building where the email instructions directed me to close my eyes and begin listening to the provided audio files. Once I was directed inside, the show proper began, and the first 2/3 of it featured some of the most intense moments I’d experienced in any production to date. Loud, disorienting, intimate, chaotic. I was dead after all and in transition. For the final 1/3, the mood shifted and I had a very personal interview with a bodiless voice about the information I had provided in my questionnaire. The dialogue was conducted in a reflective context — a look back at key points in my life. Even though I had recently provided the information, the preceding scenes allowed me to re-engage it in an unexpected and powerful context.

That said, I have ranked it fourth for a reason. Generally speaking, production design is not the strongest feature of any of these shows. In some cases, they are able to successfully use a minimalist asethetic as a cleverly-integrated design constraint. In this show though, it was a bit too ragged and ultimately felt distracting and unfinished. Also, much of the script appeared to be pulled from Bardo Thodol itself or similarly-themed philosophical texts and thus lacked in story and felt a bit forced and ultimately difficult to engage. What should have been a powerfully resonant experience felt somewhat cluttered and diluted with filler. The highs were high and the lows were low, and overall there was more that worked here than at Parturition.

Read the rest of the countdown in Part 2.

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