The Speakeasy and Audience Consent

On Friday September 30th 2016, I attended a preview performance of The Boxcar Theatre’s The Speakeasy, an immersive theatre performance at the production scale rivaling that of Sleep No More in New York City.

Marketing photo from Boxcar Productions.

There are a number of aspects of this show that were going right. The cast are all extremely talented delights who really show the depth of their abilities as performers. The content itself has very challenging questions posed both in content and to the art form. Sadly, the piece obfuscates all of that with significant consent issues.

I have serious issues with the safety and comfort of the audience of this show. As a professional house manager and immersive experience artist, there are conditions and policies that concern me. Conditions which, at best, prevent audiences from enjoying the piece. At worst, can cause emotional, if not physical harm. It comes down to providing constant and continuous consent throughout the performance. An audience that is well informed of what’s expected and how to opt-out of the space temporarily, if needed.

My concerns can be solved by the following:

  • Clearly identified, accessible non-performing ushers in every room;
  • Clearly identified, accessible non-performance audience lobby;
  • An organized front-of-house experience.

I’m deeply concerned this production will leave a horrible experience to people who haven’t experienced immersive theatre. After my experience, I wouldn’t blame someone to cast off the art form completely. I’d rather not make a habit of saying other productions could improve respecting an audience. I want Boxcar Theatre to respect their audiences now.

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Two Houses [Alike in Dignity]

On March 24th and 25th 2016, we did an abridged version of Romeo & Juliet we called: “Two Houses: Alike in Dignity.” An immersive theatre production where the audience is moving and interacting around in spaces, and not a traditional stage & theatre seats, told between two physical houses on a street in Oakland. The production is framed as all the scenes with Romeo up till and including the balcony scene.

Like most good art, this started as a Twitter joke between Bunny (the director), Aaron Muszalski, and Jonathan Pirro (Mercutio) of doing the balcony scene in the middle of Oakland, ambient noise and all. One and a half months later, we did the show.

Note: All of the photos are by Joe Carrow, our official photographer of the production.

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My story of The Latitude Society

I was on board very early in the appointment. Crawling down a pitch dark tunnel, feeling my way through a winding path, a light source finally revealed a library. One very similar to the Myst library, albeit smaller. I knew I was in for something special. What I soon gained was a community of wonderful people and a part of myself I had lost: My desire to create.

This is my story of Nonchalance’s The Latitude Society.

Latitude Society: Invite Hand off
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