The presumed Lady Macbeth herself is poised above her bloody bathtub, or climbing a mountain of antique furniture like a rabid ape. Danvers from Hitchcock’s Rebecca - here in loyal service to Lady Macbeth - spooning milky poison down the gullet of a soused, super-pregnant woman who very well might be Lady Macduff. A gelid blonde who may or may not be Mrs. And all the while, you’re carried on perfectly modulated aural swells of Bernard Herrmann pastiche, courtesy of sound designer Stephen Dobbie.Īlong the way, you’re guaranteed to stumble on what Punchdrunk’s directors, designers, and choreographers (Felix Barrett, Maxine Doyle, Livi Vaughan, and Beatrice Minns) refer to as “situations”: a man who may or may not be Duncan, right king of Scotland, being murdered in a sheikh’s tent. (N.B.: This doesn’t exempt you from actor contact - in fact, you’re practically guaranteed to be interfered with at some point in the approximately three hours it takes to survey the space and absorb the long arc of the story.) Fending for yourself in the fictional “McKittrick Hotel” (a pointed Vertigo reference that dizzy or claustrophobic types should take to heart before booking), you’re given the run of six misty, intricately detailed floors, with more than 100 rooms full of (and this is a partial list) clues, red herrings, hair samples, teeth scattered like gaming dice, magic spells, animal bones in carefully labeled bins, a mass of old-fashioned desk fans that turn on and off at random, rotary-dial phones that have actual dial tones, grisly private eye photos of corpses, bloodstains that appear and disappear, patchy ad hoc taxidermy posed for maximal menace, and a ballroom stalked by moving trees. You and your fellow voyeurs, enskulled in your morbid headgear, quickly become part of the creepy scenery. Presented with a bone-white Venetian beak mask (the kind favored by plague doctors in the Renaissance), you’re invited to gawk, shame-free, at whatever you see, to rifle through drawers, files, Rolodexes, and even coffins. (Also: ’tis sold-out, but set to extend, so get your trigger finger ready.) The UK’s Punchdrunk theater collective - famed for these sorts of immersive, site-specific experiments back on their native sod - has finally brought Sleep to the city that never does, and now, most certainly, won’t: The show infects your dreams. All the same, stumbling groggily up and down staircases and around darkened hallways gives the night the sludgy, abstracted aura of a nightmare.What in Hecate’s name is Sleep No More? A dance-theater horror show? A wordless, nonlinear mash-up of Macbeth and the darker psychosexual corners of Hitchcock? A six-story Jazz Age haunted house for grown-ups and anyone who’s ever entertained sick cineast-y fantasies of living inside a Kubrick movie? ’Tis all these, and more besides: a deed without a name, to quote an infernal authority. The only caveat I would offer is to attend Sleep No More fully rested: You need your wits about you. A Shakespearean can walk about checking off visual allusions to the classic tragedy the less lettered can just revel in the freaky haunted-house vibe. I chose the latter, discovering a room lined with empty hospital beds a leafless wood in which a nurse inside a thatched cottage nervously checks her pocket watch an office full of apothecary vials and powders and the ballroom, forested with pine trees screwed to rolling platforms (that would be Birnam Wood). You can follow the mute dancers from one floor to the next, or wander aimlessly through empty spaces. troupe Punchdrunk, have orchestrated a true astonishment, turning six warehouse floors and approximately 100,000 square feet into a purgatorial maze that blends images from the Scottish play with ones derived from Hitchcock movies-all liberally doused in a distinctly Stanley Kubrick eau de dislocated menace.Īn experiential, Choose Your Own Adventure project such as this depends on the pluck and instincts of the spectator. Directors Felix Barrett and Maxine Doyle, of the U.K. Your sense of space and depth-already compromised by the half mask that audience members must don-is further blurred as you wend through more than 90 discrete spaces, ranging from a cloistral chapel to a vast ballroom floor. A multitude of searing sights crowd the spectator's gaze at the bedazzling and uncanny theater installation Sleep No More. To untimely rip and paraphrase a line from Macbeth: Our eyes are made the fools of the other senses, or else worth all the rest.
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