Many people go to the theatre to lose themselves in the production, to forget their everyday worries and troubles and be transported into another world. However, no kind of theatre transports an audience quite like immersive theatre. In immersive theatre, the audience are not merely passive bystanders. They are part of the story, however small their role may be, and they are in the middle of the action.
In an immersive theatre production, the audience in some way plays a role, whether that is the role of witness or the role of an actual character. They may be allowed to roam and explore the performance space as the performance happens around them, allowing them to decide what they see and what they skip. They might be herded from room to room so they see the key scenes. They might even be invited to become a more active part of the performance. The lines between performer and audience and between performance and life are blurred. The audience is placed within the environment of the story and therefore play witness front and centre to the events without the distancing factor of a proscenium.
However, this lack of separation can cause anxiety. If an audience member is not expecting to become part of the performance or is uncomfortable with that idea, it can be very off-putting so there must be some form of consent between the performer and the audience. Whether thatâ€™s the conscious decision to take a performerâ€™s outstretched hand or knowing that one has the safety net of being able to back away from the performance, there must still exist some form of separation and boundaries between performance and audience for the benefit of everyone involved.
The origins of immersive theatre go all the way back to the beginnings of modern theatre in the 19th century. Call-and-response, when a leader puts out a call and an audience calls back a pre-ordained response, has long been a concept in music, adding a participatory element. In the centuries that followed, things like murder mystery theatres and haunted houses also put their intended audience into an environment and allowed them choice in how they viewed the story. Even traditional proscenium theatre started to adapt some immersive or interactive elements. In 1985, the Tony Award-winning Best Musical, The Mystery of Edwin Drood, required that the audience vote on who killed the titular character, spurring one of seven possible endings.
Well-known UK-based theatre company Punchdrunk are known as pioneers of the form of immersive theatre. While they have been producing immersive and promenade theatre since 2000 in the UK, they and immersive theatre as a genre meteorically shot to worldwide fame after Sleep No More, their 1930â€™s film noir adaptation of Shakespeareâ€™s Macbeth, was unanimously well-received in New York.
Since the success of Sleep No More, countless immersive productions have popped up on both sides of the Atlantic. In New York, these include Natasha, Pierre, and the Great Comet of 1812, a techno-rock musical adaptation of a chunk of Tolstoyâ€™s War and Peace, and Then She Fell, an adaptation of Lewis Carrollâ€™s Alice in Wonderland set in a mental hospital. Londonâ€™s immersive theatre scene has recently featured an all-night production of Macbeth in a block of flats; Leviathan, a production of Herman Melvilleâ€™s Moby Dick in which the audience stands in for the crew of the ship chasing after the famed whale; and The Drowned Man, a combination of Georg Buchnerâ€™s Woyzeck and Nathanael Westâ€™s The Day of the Locust set in a 1960â€™s movie studio and produced by Punchdrunk.
â€śInstructionally Invitedâ€ť brings immersive theatre to the Space with the help of Gruff Theatre Company. Four people, known as the Beings, are unable to leave a church, but invite along the audience to partake in games and observation of their bizarre world. Come along to witness what happens when social conventions fall apart and become swept away in the madness that ensues. With so much immersive theatre going on in London, the Space is thrilled to be part of this engaging theatre trend.