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After a time, numbers corresponding to guest's cards are called. Many guests see this maze as the "portal" back in time, for upon exiting they find themselves in a gaudy, richly decorated and fully operational 1930s hotel jazz bar, the Manderley. Giving their name at a check-in desk, they receive a playing card as a ticket and are ushered upstairs to a brief, dimly-lit maze. 27th Street, and travel down a dark hallway, where they check their coats and bags. Guests enter the hotel through large and (save for a small plaque outside) unmarked double-doors on W. The name of the town and some of the characters (as seen in prop letters found in the performance space, and the show's souvenir program) are references to the Paisley witch trials. Various papers, pamphlets and menus inside the performance space and at the building's dining establishments identify the show's setting (indoors and "outdoors") as the fictitious town of Gallow Green, Glamis, Forfar, Scotland. Sleep No More is set in a building with five floors of simultaneous theatrical action, putatively called the McKittrick Hotel, though with many rooms and features not normally associated with hotels. The email that guests receive upon their impending experience does note that the work is best experienced individually, and that audience members might experience "intense psychological situations." Ī prop letter from Macbeth to Lady Macbeth
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In their exploration, audience members can come upon instances of full nudity, bright lights (including strobe lights), lasers, fog, and haze, as well as being separated from the rest of their party. It is also best described as immersive theatre, rather than interactive theatre, because although the audience may move through the settings, interact with the props, or observe the actors at their own pace, their interference has no bearing on the story or the performers except in rare instances.Ĭontrary to what some believe, Sleep No More is not any kind of haunted attraction. Sleep No More's presentational form is considered promenade theatre, in which the audience walks at their own pace through a variety of theatrically designed rooms, as well as environmental theatre, in which the physical location, rather than being a traditional playhouse, is an imitation of the actual setting. Sleep No More adapts the story of Macbeth, deprived of nearly all spoken dialogue and set primarily in a dimly-lit, 1930s-era establishment called the McKittrick Hotel, whose website claims it has been recently "restored" but which is actually a block of warehouses in Manhattan's Chelsea neighborhood, transformed into a hotel-like performance space. Sleep No More won the 2011 Drama Desk Award for Unique Theatrical Experience and won Punchdrunk special citations at the 2011 Obie Awards for design and choreography. The company reinvented Sleep No More as a co-production with Emursive, and began performances on March 7, 2011. It is expanded from their original 2003 London incarnation (at the Beaufoy Building) and their Brookline, Massachusetts 2009 collaboration with Boston's American Repertory Theatre (at the Old Lincoln School). It is primarily based on William Shakespeare's Macbeth, with inspiration also taken from noir films (especially those of Alfred Hitchcock), as well as some reference to the 1697 Paisley witch trials. Sleep No More is the New York City production of a site-specific work of theatre created by British theatre company Punchdrunk. McKittrick Hotel and environs, Gallow Green, Glamis, Forfar, Scotland McKittrick Hotel, 530 West 27th Street, New York City She used the lighter to erase what I had written for my name, birth date, and phone number and revealed that I signed a paper that read, “I sign myself over to her.” I got to keep the paper.One of the audience masks used in the production. There, I signed my name on the document from before. I grabbed something that turned out to be a lighter before she brought me back to the beginning of the small room. She then shut the peep hole and opened another, which she had me reach inside. On the other side was a blonde girl, an actress, she referred to as Grace looking anxious. Then she led me down a dark corridor that wasn’t accessible to anyone else and was giving a monologue about the dangers that come from being curious and going into the dark as she instructed me to peek through a hole. She said, “You aren’t here for a detective, are you?” I played along, as she instructed me to fill in my name, birth date, and phone number on a piece of paper. The space was pitch black, until she flipped on a light. She unlocked the door with a key on her neck, shoved me inside, and slammed the door shut on everyone else looking in. I wish I knew what her role was, but I couldn’t figure it out.