If you’re already worn-out by the 2021 holiday season (like we are,) then here’s an experience that might be right up your alley. Check out the press release for The Krampus Tale below. It’s an experience that’s just opened and runs through the top of 2022. We’ll be there next weekend to try it out ourselves!
Hoof-Prints On History: A Krampus Tale
This season, an old friend comes to visit in a whole new way. Krampus is in town!
For the first time, you humans – naughty and nice – have a chance to win over the
TRUE authority on holiday justice. For the wise, debonair Krampus has a secret plan to show you he is not so bad – and has, in fact, been judged unjustly. He will orchestrate a GRAND UNSMEARING campaign, bringing takeaway treats and entertainment, including lashings and chain knotting demonstrations original song craft and puppetry arts.
You’ll be enthralled for over four hours nearly thirty minutes by the campaign that critics are calling “Twas the Night Before Christmas x 100” and “The gravitas, humor, and poetics of Shakespeare’s entire oeuvre all at once!” It’s sure to add a new tale to your family’s holiday tradition, warming your soul with the inspiration of the season as it’s truly meant to be!
With development assistance from a real human child, this is Krampus’s “best” attempt to tell his story, clearing his name once and for all. Have a Ho-Ho-Horrible holiday with us!
Dates: Generally, Thursdays-Sundays in December (Full list of dates: December 4-5,
December 9-12, December 16-19, December 23, 26, 30, January 1-2)
Notes: Kid Friendly, Outdoor venue (rain or shine), Guests required to wear masks, Wheelchair accessible.
Who: Hoof-Prints on History is conceived by Stephanie Hyden, written and directed by David Ruzicka, and features Darren Herczeg and Stephanie Hyden. Eric Vosmeier and The Bezark Company serve as producers. Production design by Stephanie Hyden. Lighting Design by Ian Momii.
I am deep in the bowels of a mausoleum, my eyes locked behind a blindfold and my gloved hands shoved deep inside something squishy and very wet. (Is it intestines? The chest cavity?) I strain to figure out what the noises in front of me might mean. (Is that ripping skin? Is that a bunsen burner turning on?) All I know for certain is that I am lost in the memories of the true creator of all of this, Mary Shelley. And I fear there is much more horror yet to come for it’s alive.
It’s Alive advertises itself as a “Frankenstein intimate immersive experience.” That description is both accurate and a vast understatement for one of my favorite experiences this Halloween. It’s Alive is far more than a Frankenstein story. It is the story of how Frankenstein came to be. It is the story of why Mary Shelley felt compelled to write about a mad scientist and his poor creation. Best of all, it is a fantastic immersive experience with so many characters and storylines that multiple viewings still won’t catch everything.
It’s Alive begins at the moment Mary Shelley learns of her husband’s death from a boating accident. Because of plague fears at the time, Percy Shelley’s body is cremated. All Mary Shelley receives to bury is Percy’s heart which refused to burn. With that startling piece of emotional imagery in her hands, (more startling still because it’s an actual historical fact,) Mary begins to mourn.
But it’s far more than her husband she grieves for, and It’s Alive delves into the full weight of both Mary and Percy’s histories. Audiences break apart and weave together as they traverse the massive Mountain View Mausoleum, interacting with everyone involved in the creation of Frankenstein. Mary’s sisters whisk individual members off to have a private scene in the darkness. A pair of the audience digs up body parts by a grave outside. A handful spies on Dr. Polidori professing his love to a married woman. For two hours, the show weaves its audience in and out of moments of these peoples’ lives in a way that feels like a combination of ghost story and gothic ballet. By its completion, each audience member will understand exactly why Mary’s tears fall so deeply at yet another moment of grief.
It’s Alive works on every level possible. The writing (from John Armstrong and Devon Armstrong) perfectly combines the style of Shelley and Byron’s poetry and Mary’s novel. And yet, it remains very accessible for modern audiences thanks to director Devon Armstrong’s very smart staging and choices for when to have characters directly interact with audiences. Moreover, a show like this requires exceptional choreographing of its audience so that each member gets a full experience with no wasted time. The first version of this show at the Heritage Center in Los Angeles did this well; this version has perfected that timing into an art form. I was brought through nearly every corner and floor of the mausoleum and never did I feel like I was waiting for anything or anyone.
The cast of It’s Alive also does a stellar job throughout, with every actor working in top form to bring these historical figures to life. Chanel Castañeda effortlessly shifts between the true happiness of Mary in love to the heart-wrenching grief of her loss and captures both perfectly. Jahnavi Alyssa’s portrayal of Claire Clairemont displayed raw grief in such a visceral way it is spellbinding. The deeply sad story of Harriet Shelley (Percy’s first wife) gets an equally (and wonderfully) sad evisceration from Rachel Levy. Alec Gaylord as Percy and James Fowler as Byron capture the egocentrism of those poets and their male-centric “free love” attitudes so well it made me angry at them. Lulu Royce’s version of Fanny was the living embodiment of lost innocence and nearly impossible to watch. Even the one fictional character roaming this performance, Dr. Frankenstein himself, was horrifically presented by Robert Schaefer in a wonderfully dark, twisted persona that drags people off to do monstrous things.
It’s Alive is the perfect example of great immersive theater. It brings a well-crafted and well-executed show to a wonderful location. It imbues the production with a talented cast that knows how to draw their audience ever deeper into their tale. One can hope that shows like these might even become a holiday tradition, for you could do no better for a Halloween night than fall into this exploration of the truth behind the fiction of Frankenstein. For as many of the characters here say, without these people and the life they gave Mary Shelley, the creation would never have been born.
It’s Alive has four more shows this weekend, but only the Saturday at 9PM show has tickets remaining. Tickets are $60 and can be found here. Contact the organizers for any waiting list if you want to try another slot.
They are calling me again. I’ve found myself tasked with absolute control over two different women’s lives. I get to decide what happens to their entire future existence in one instant. It’s a weighty decision on my shoulders and right now, I only know one thing:
I don’t see any good answer.
As the pandemic rolls on, immersive creators continue to experiment with new ways to deliver stories. Candle House Collective created an entire program for such experiments with their FireStarter Initiative. This initiative allows new creators to offer narratives through the CHC site that can give audiences something new and exciting to enjoy.
Recently, the FireStarter Initiative brought audiences the show Lovers Anonymous. This show centers around a strange little place call “Amet”. There’s even a wonderfully retro introduction video created by Amet’s founder, Terence Abernathy. It explains Amet and that you are here because you are an American who has volunteered to help its society. But so many questions remain. Is Amet a city? A cult? A self-governing collective that somehow carved out part of Alaska?
Even stranger, check out the above image from that intro video. In Amet, “Love” is a sign of mental illness and that’s where you come into play. Since Americans do not recognize love as dangerous, we are better suited to decide the fate of two women who have fallen in love. To make that decision, the audience member will get to speak to both of them individually and together.
Lovers Anonymous echoes many of Candle House Collective’s previous audio-only immersive experiences. Candle House Collective specializes in over-the-phone immersive theatrical performances. They put audience members into slightly different realities with people who feel familiar and circumstances that feel terrifyingly unique. Lovers Anonymous thematically fits very well into that sort of show idea.
At the same time, the show also branches into its own territory in several ways. This experience uses multiple forms of technology beyond just audio. It includes audio, text, video calls and even PowerPoint presentations shared from various computers. Each type of technology matches the narrative moment where it appears perfectly. The emotional Lilli wants to see you as she chats while the cerebral Chantal prefers to organize her thoughts beforehand. I have seen literally dozens of various virtual remote shows in the last 16 months and I was still pleased and surprised by this show. Lovers Anonymous really understands how to use technology in a way most immersive shows fail to grasp.
What caught me the most off-guard, however, was how upset this show made me emotionally–in all the right ways. Because of the distancing aspect of technology, most virtual shows have a hard time creating truly deep emotional investment in their audience. It takes just the right combination of story, performance and understanding of how people interact over technology to bridge that gap. Lovers Anonymous reaches right through its technological lines and ripped my heart from my chest.
Its two main women felt entirely real. They each had desires and fears, wants and worries, and I understood it all. It made the decision I ultimately had to make one that hurt almost as much as decisions I have made in my own life. Two entirely fictional characters asked me to choose their future and it broke my heart to do so. Lovers Anonymous is that good a show.
Everything about Lovers Anonymous compels for me. Its design is impeccable. Its use of technology works superbly. Teagen Earley and LaKecia Harris bring such real life to their main women couple of Lilli and Chantal that I honestly wished they were real so I could keep talking to them for years to come. Marvin Bell brought a different but equally real energy as Chantal’s father who had a real bone to pick with America for very good reasons. Sar Cohen and William Youmans brought the strangeness of Amet to life so quickly and efficiently that I also wished Amet was real because I would definitely want to visit and understand what the heck was really going on there. In fact, I hope the creators contemplate bringing that community back for another, different tale. I would love to learn more about the place that hates love.
Lovers Anonymous shows exactly how compelling immersive can be even across technology. It shows that with planning and a true understanding of how we access the modern world, even the technological barrier cannot stop real moments of interaction between characters and audience. The greatest compliment I can give is that I hope Lovers Anonymous returns once more so that other audience members can experience it.
Equally, I hope Candle House Collective continues to use its FireStarter Initiative to bring new creators and experiences to the world. If Lovers Anonymous is what that initiative can help create, I hope they keep starting fires for a long time to come.
Candle House Collective is busy working on their new shows. You can learn more about their company and join their mailing list here.
I stand backstage with the Brassroots District band, holding a ‘band beer’ given to me by their lead guitarist. Normally, I’d be thrilled to have that level of access to a musical group. I’m very uncomfortable thanks to the fight happening between the group’s two lead singers. I may be experiencing a great funk band’s last night together, here in the summer of 1973.
Brassroots District: Live in the Lot Summer ’73 offers an unusual hybrid in the realm of live immersive productions. It’s a combination of a real funk concert performed by the Brassroots District band and an interactive narrative about one crucial evening in the band’s history during the summer of 1973.
Audience members become part of the band’s crowd during a parking lot concert before Sly and the Family Stone do a gig. While the band performs, tensions between band members rise to the surface as a producer arrives with his offers of fame.
Brassroots District: Live in the Lot Summer ’73 offers its audience an immersive experience accessible to almost anyone. Members engage with the story if they wish by interacting with band members, publicists, the producer, a choreographer and even groupies. They can even get a VIP ticket that includes access to the band’s backstage. That backstage area offers more intimate discussion with the characters and unique scenes with actors and audience.
Conversely, an audience member can choose to just come and enjoy one hell of a good 1970’s funk band concert. They can dress up in 1970’s style and spend 90 minutes grooving to music that absolutely sounds like it should have come from that time frame.
Brassroots District: Live in the Lot Summer ’73 is, quite simply, brilliant. The combination of fantastic music and engaging story works perfectly. During the performance I attended, I engaged with actors and band members throughout. I spotted other audience members doing the same. But I also watched in glee as a ton of individuals who clearly were alive the first time 1973 enjoyed a nostalgia trip. They danced and laughed while wearing outfits that might have been sitting in closets for 50 years. Their enjoyment proves the success of this show.
Brassroots District: Live in the Lot Summer ’73 works on every level. From the music to the performances, this show creates a synthesis of joy and togetherness. It is the perfect counterpoint to the isolation of the last 16 months and a reminder that humanity is at its best when we come together in happiness and love. If that sounds like I’ve fallen under the old spell of peace, love and joy then great–blame the band. Brassroots District: Live in the Lot is the kind of show that will give anyone that good a time.
Brassroots District: Live in the Lot Summer ’73 has three remaining shows this weekend (Sat at 4 and 7PM and Sun at 7PM.) Tickets are $55 for general admission and $197 for the VIP Backstage Experience for 2 (which from personal experience I highly recommend.) Tickets can be found here.
I sit in a chair in my home with one thought running through my head: I am terrified. There are visitors here that I did not invite and I would love for them to be gone. But I can hear one of them talking to my roommate and the other one is whispering right in my ear and they have no intention of departing. Not while I’m still alive, anyway. Darkfield Radio has done it again.
Darkfield Radio was originally created in the UK as a collection of multi-sensory audio experiences in complete darkness. Now, creative directors and Darkfield founders Glen Neath and David Rosenberg have turned their audio narrative skills into a remote experience. Audience members download the Darkfield Radio app onto their phone, put on headphones or earbuds and the performances stream directly into their ears.
Darkfield Radio currently has three different tales that audiences can experience. Two of them (“Double” and “Visitors”) are made for two audience members to experience in the same room at the same time. The final show, “Eternal,” is designed for one person lying in their bed. Each of these tales brings a different type of horror to its audience and they are work very, very well.
“Double” begins as a discussion about the Capgras delusion, a real condition where a person believes someone close to them has been replaced by a dark, evil version. That delusion instantly becomes something to worry about given that you listen to this tale with someone you know (and presumably care about) sitting directly across from you. Have they been replaced? Are they worried that you have been? An incredible performance from Chris Brett Bailey only adds to the terror in the latter half of the narrative. He shifts the story in a subtle way and it is both thrilling and nerve-wracking at the same time.
“Eternal”, the solo show, uses the novel Dracula as inspiration for an intimate show that is all the more terrifying because you experience it lying down. The binaural audio allows Lloyd Hutchinson to get really close to you as he creates a looping narrative that is compelling, dark and nerve-wracking. I had never had goose bumps from having someone just speak to me–until this show.
For me, the true star of these tales is the show “Visitors.” Two audience members are asked to sit in a very specific way for this show. Then the horror begins as two visitors arrive who are different, unnerving and worst of all, persistant. Visitors is one of the most uncomfortable 20 minutes I have ever experienced and I mean that as a tremendous compliment. Sonya Seva and Greer Dale-Foulkes as the two visitors do an absolutely fantastic job in creating a tense, creepy atmosphere. They hit just the right balance between their calm demeanors and the absolute nightmare of what they want to do with you. Everything about this show works equally well. Glen Neath’s script is perfectly vague, offering just enough information to allow your own mind to fill in the rest. Neath and David Rosenberg’s direction shows they know exactly how to increase the tension throughout the tale. The binaural audio is so expertly created I literally thought something had happened in my home that only happened in my ears. It is so good I still think it might have been real.
Darkfield Radio is a fantastic set of audio horror experiences. Each one of their shows builds tension and psychological horror in different ways and they are all very good at what they want to do. Best of all, the experiences are all performed each night which allows audiences to spend an evening lost in Darkfield’s world. Darkfied Radio offers audiences the perfect ratio of terror and discomfort for the modern age. Perhaps the best compliment I can give Darkfield Radio is this: I want them to make so many, many more of these so I can come back to their terrifying world again and again. Do yourself a favor and tune in to Darkfield Radio as quickly as you can. Just be ready to have a hard time sleeping after you do.
Darkfield Radio has ongoing performances of each of their three shows for various countries and timezones. Tickets for every country and timezone can be found here.
In the US, the shows run Tues, Thurs and Sat nights through April 29th, with two timeframes based on Eastern and Pacific timezones. Tickets run $7.50/partipant for each show.
Through a Zoom screen, I talk to an entity whose name perfectly describes what we are both doing. We are building a narrative, piece by piece, centered on a penguin named Chester. Now, as I write this review, I am not certain why that is his name. But I chose the name myself and boy, did it make sense at the time. I guess that’s what happens in The Place You Once Forgot.
The Place You Once Forgot first appeared as a live performance at the Edinburgh Fringe Festival in 2019. Once the pandemic hit, it came back during the fall of 2020 as an online performance (which is when I got the chance to see it). This weekend the show ends a second online run. If you have not yet experienced this charming solo dive into your own imagination, you should grab a slot before it evaporates into the same ethereal realm where the show itself lives.
Consisting of 2 phone calls and 2 Zoom interactive scenes, The Place You Once Forgot works very simply. In fact, from both the structural and technical aspects, the show comes across as basic in its nature. But the simplicity of the design and technology work as great strengths for this show. You see, the production team at Ladybug & Leviathan want nothing to get in the way of the true focus of the show: you.
You are the centerpiece of this experience. You and that soft, sweet place in your creative mind that you many of us have forgotten, especially at the tail end of the lost year 2020. Everything about this show focuses on you. Terence Leclere’s phone calls bring your attention on yourself and how you feel, readying you for what is to come. The Story (played in sweet, calm tones by Karlie Blair) leads you to creating a story that could have come directly from you as 8 or 10 years old. Megan Combes as The Key charmingly coaxes you into drawing to your best ability. In my case, such drawing is inevitably terrible–and yet with Megan, I was relaxed enough to get out of my own critical mind.
It is that last sentence that makes this show work for me beautifully. As adults, we have the tendency to be ever so critical of ourselves. This was wrong. That could have been better. What were we thinking? For just a few minutes, The Place You Once Forgot breaks through that noise. By having three individuals legitimately care about you, the world quiets. We can think and imagine and draw and relax. By letting us be ourselves, The Place You Once Forgot brings us right back to that place and helps us remember it still exists. In the chaos of the world, such a reminder is worth its weight in charm and joy.
The Place You Once Forgot has two more nights of performances on April 9 and April 10. Tickets run $27 and can be found here.
I may be sitting in front of my computer in the real world, but in my mind I am lost in a story that flows through space and time and centers on a medicinal recipe turned into a massive corporation fortune. Rio Records is definitely a trip to be on…
… and yours will be entirely different.
In our current crisis era, those of us who love and/or create immersive entertainment have lost one of the great elements of the art. We can’t physically experience things. We can’t find ourselves in unique locations or strange circumstances in the same way as before. Multiple companies have attempted to recreate that sense of ‘being somewhere’ with greater or lesser success. Based on my journey through 13Exp’s newest creation, Rio Records accomplishes what few shows I’ve seen recently have done. It transports me to somewhere else.
On a purely technical level, the show works as many other remote interactive and immersive shows do. Audience members use the internet in two ways during the 80-minute show, through a custom-built interactive opening site and through a later Zoom call. Cell phones can also be part of the experience. Both live and pre-recorded elements add to the narrative each audience member enjoys.
On the design side, the show represents the work of over 70 artists that creates a tapestry focusing on the past, present and future of the LA River. Over 700+ minutes of content has been created, allowing a show that has multiple different story paths that weave in and out of each other. It’s a design that hopes audiences will return more than once to the experience as each trip they can follow an entirely different path through the show. Rio Records also adds a civic-minded element through raising both awareness and funds to help revitalize the LA River in the near future.
In the experience, however, Rio Records explodes beyond its setup. It becomes something far, far more interesting.
My particular journey focused on an indigenous medical recipe stolen from a housekeeper by her employer. That employer then turned that recipe into a fortune, none of which was shared with the person it was stolen from or her family. I was treated to multiple forms of entertainment including comic books, live phone calls, hacked messages, recorded video and live streaming moments. The variation and approach of the artists towards the subject matter excited me and occasionally moved me emotionally.
The show allows each audience member to choose their path forward multiple times during the show, with each choice leading to a different outcome in terms of both art and narrative. For some audience members, this sheer open nature may be intimidating or confusing. But I chose to follow the request of the LA River (yes, she is an actual character in the show) and let the experience flow over me. Whenever I had the chance to make a choice, I made it instinctively and let the story build in its own time. By letting myself simply enjoy each moment as it came, I quickly lost my sense of being in my own home and watching through a computer screen. Instead, I found myself in an almost heightened state, relishing each element for its own sake and as it added to the story. I highly recommend other audience members approaching the show in the same manner.
Unfortunately, the show does not succeed on all fronts. In its final segment, audience members join a Zoom call that happens narratively in the future. I understand the goal of this segment, which is to suggest both challenges and potential solutions for the LA River as we move through the 21st century. The execution of this goal feels problematic. First, the audience is asked for their input in choosing appropriate solutions for the river. We get too little time and information about those solutions to give that input. Second, brief snippets of narrative conflict (such as someone who might have a conflict of interest) feel like they should be able to be explored but cannot be because the show is nearly over. This end segment feels rushed and tacked onto the experience in order to recognize the real importance of the LA River to Los Angeles as a whole. While the idea may be noble, this segment could easily have been an entire show on its own and probably would work far better as one. Instead it drags down the beautiful flow of the rest of the show into a strange, confusing end.
Rio Records is a show that I sincerely hope people turn out to experience in its final weekend. Beautiful and elegant in so many ways, Rio Records offers a respite from shows that lock us behind our screens. If you let it wash over you, the show can float you into a story you choose from moment to moment. It can connect you to the incredible work of current artists and to stories based on the history of one of Los Angeles’ important elements. I recommend this experience as something different and strange and absolutely worth your evening.
Rio Records has four more performances through this Sunday, February 7. Tickets run from $25-40 and can be found here.
There’s a classic bit of folklore that talks about wandering too far into the forest on the wrong sort of night. One wrong move, the lore says, and you might just find yourself taken by the fae. You can end up lost in the darkness of their realm for anywhere from one night to forever. Only the luckiest humans find their way back. Don’t Follow The Lights Review Mystic Ventures Collective
I’m about to find out for myself. Because this time, they’ve taken me.
Ali Hass as “Harvest”
Don’t Follow The Lights is Mystic Ventures Collective’s newest online immersive sandbox show about one unlucky night in the realm of the faeries. It starts with a fun premise. The audience members have done the opposite of the show’s title and it’s up to them to figure out a way home. Through exploring the realm, interacting with its denizens and figuring out proper offerings for each faerie leader, audiences have a chance to succeed in finding their way home.
Or they can fail utterly, lost forever. Or they can find multiple different levels of great or terrible endings in between. The audience’s actions as a group make the final determination.
The shows uses a software program called Gather to create a faerie realm that looks like a video game from the original Nintendo Entertainment System era. Audience members move avatars throughout a map of the realm. When they get close to a character’s location of characters, they enter video chats reminiscent of Zoom with the ability to speak and hear each other. Conversations lead to secrets, clues or even solutions for what other characters need. Only through exploration and interaction can the audience find their path home.
Multiple interactive and theatre companies have started using Gather to create spaces where audiences can interact that attempt to mimic the idea of moving through a real space. The goal is to allow more fluid, dynamic conversations where audience members come and go as they wish. Don’t Follow The Lights succeeds in creating that sort of space as other shows using Gather have done.
Shelli Frey — “Decay”
However, if this all sounds like a complicated setup for an interactive online experience—it is. Any company using Gather needs to recognize that it isn’t necessarily intuitive, especially for those who didn’t grow up playing Final Fantasy or Chronotrigger. Helping audience members understand how they interact with this software—both in general and for this specific show—becomes an absolute necessity.
For the final dress rehearsal that I saw, that information wasn’t sufficient for many of the audience including myself. I saw multiple audience members blindly roaming the space, attempting to figure out what they were supposed to do or how they were supposed to interact at all. That lack of clarity impacted both how I experienced the show and what I was hearing from other audience members as it happened. I expect Mystic Ventures Collective to have made significant changes to their audience’s introduction into the show since that night. If not, such confusion may happen for other guests as well.
Joey Moore — “Raven”
That would be a shame, because there are some positives for this show as well. The actors were quite fun to play with, each of them having some clear goals that allowed for improvisation as they responded to audience members. Some of the actors were cold and aloof, such as Dana Soliman’s smart performance as “The Queen.”
Others were more unearthly, such as KC Hyland’s joyfully disruptive chaos as “Nettle.” And some were truly reminiscent of darker faerie tales, such as Shelli Frew’s whispered and torturous “Decay” and the constantly sharp hunger of Kate Martin’s “The Mermaid.” The actors deftly accomplish the spin into a realm of strange creatures and inhuman attitudes.
Kate Martin – “The Mermaid”
The general idea for the show itself works as well. Using a classic bit of folklore to weave this sort of immersive experience should be a lot of fun—and in this case, it often is quite enjoyable. Having guests work together towards an ending determined by their choices has great merit for creating a positive audience space, something we definitely need in the current isolation era.
The iteration of the show that I experienced simply needed more fine-tuning to truly shine in the way that I believe Scriptwriter and Producer Shelli Frew wants. A few tweaks (that I expect will have already happened by opening night) will go a long way in raising this show to its best version. If the audience’s choices will determine the ending, they need to have a clear idea of how to affect those choices. They need to understand the stakes, their options and at least the first stage of what they need to do to succeed.
After all, one of the impacts of making everything look like a video game is that it makes audience members want to “win.” I spent too long confused over my choices to feel like I was winning anything. Locations and characters changed as well during the experience. While this is true to the idea of a strange fae world, such changes were often hard to spot, making it even more harder to ‘solve’ the world. Some characters seemed to require specific things but were not always good at giving me clues as to what those things might be.
Worst of all, I wasted time retracing paths to figure out what I had missed, only to find that a second visit to the same character could generate different answers with the same questions. Such a reaction made it seem as though my actions were generating random outcomes, which seemed at odds with the goal of making my choices matter.
Again, I expect these hiccups to be ironed out when the show reaches its full potential. That’s the point Don’t Follow The Lights will be a show that audiences will be able to follow perfectly well. That’s the version that I wish I had experienced myself.
Don’t Follow The Lights brings a great premise to its audience. With strong acting from its entire team, the show offers audiences a fun take for the Halloween season. When their issues are solved, Mystic Ventures Collective’s show should be a great adventure for this year’s spooky season.
Don’t Follow The Lights has three more performances scheduled this weekend on 10/30 and 10/31. Tickets are $30 and the experience works best on a Google Chrome browser with a headset and microphone. Don’t Follow The Lights Review Mystic Ventures Collective Don’t Follow The Lights Review Mystic Ventures Collective Don’t Follow The Lights Review Mystic Ventures Collective
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I’m in the back seat of my mom’s car. She asks me whether I’ve done my homework before tonight’s festivities. I tell her “Yes” with a click of my mouse. Her classic “mom-happy” voice tells me to have a good time as she drops me off. Little does she know the truth: Eye On Immersive: KatnipProductions’ The Sleepover Immersive Review
We’re gonna watch Nickelodeon. All night long. That’s what a sleepover is all about.
In the COVID world, entertainment has become something we watch through screens at an astonishing rate. Nowhere has that become more evident than in the rapid proliferation of remote immersive experiences. Some create deep dives into performing artists. Others create escape rooms with live avatars. The immersive community constantly experiments with how to bring audiences into a story while leaving them in their own homes. The Sleepover, a one-hour comedic immersive show set in the 1990’s, makes its choice with a goofy and fun escape into a more innocent past.
Jointly created by KatnipProductions and the Cricklewood Theater Company, The Sleepover casts its audience members as guests at the title event held by teenager Mikey (Jason Lalich.) With Mikey’s parents (played with lovely over-the-top gusto by Misha Reeves Bybee and Joey Bybee) heading out for a Halloween party, Mikey’s older sister Louise (Susan Louise O’Connor) gets tasked with watching over her brother and his audience friends. That’s all the setup this show needs to leap headfirst into the humor of the story.
Jason Lalich and Susan Louise O’Connor
Comedy sits at the core of this show and it works very, very well. From the opening choose-your-own-adventure video to the death-defying dare at the end, this is an immersive experience that simply wants you to have a good time. Early on, when the plan to watch television goes awry and Louise claims its because of the house’s ghost, Mikey grabs a handful of Goosebump novels because obviously they have the appropriate research for handling spirits. Later, when audiences get separated into two groups to have smaller scenes with Mikey and Louise, we learn how cool an older sister must be by definition because she has music posters on her wall or how cool Mikey is because he knows how to play the Oregon Trail video game. There’s nothing truly serious happening here and that’s the point. The Sleepover’s plot hangs on quirky, strange little moments of fun that come across as sincere because that’s exactly what nights like that are all about.
The Sleepover sets itself up as a show with a loose plot and lots of audience interactions through Zoom. For this type of show to work, you need actors who can maintain strong characters with sharp improvisational abilities. That’s where this show really shines, as I absolutely loved the two siblings Mikey and Louise. Lalich’s portrayal of Mikey reminded me so much of the earnest awkwardness of a boy trying to impress his friends. It’s a performance that works as silly, sweet and almost painfully accurate. From vocal tone to attitude to facial expression, Lalich absolutely nails that age where boys want to be men but have no idea how to get there.
Susan Louise O’Connor
O’Connor’s take on Louise is equally sharp. She portrays the perfect arrogance of the older sibling, convinced of her coolness based on absolutely nothing at all. Certain that she is justified in whatever vengeance she levels on her younger brother for perceived slights. Determined to pose as the sophisticated woman even as she fails to spot obvious traps laid out to bring her down. O’Connor’s performance captures her character’s reality with the ease that only comes from a brilliant performance.
The Sleepover has all the pieces necessary to give audiences a great escape from today’s complicated world. It combines humor, strong improvisation and even a heartfelt emotional moments as it lets you enjoy a simpler time. This is an engaging show in every way. It’s the kind of remote immersive experience that could run for a long time when word of mouth gets around. Most of all, The Sleepover offers a very welcome respite for a weary world.
The Sleepover has extended for three shows this weekend, Oct. 23 and 24th. Tickets are $19.90 for General Admission (anywhere) and $49.90 for VIP admission that includes a 90’s goodie box (local to Los Angeles only.)
UPDATE: The Sleepover has extended again for two more performances on Nov. 6 and Nov. 7.
For more information or to get tickets, head to the event link.
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If you’ve ever wanted to get lost in the faerie realms through the magic of the internet, we’ve got a late October Halloween journey just for you. Mystic Ventures Collective brings you this type of story with their online experience Don’t Follow The Lights.
Performances run Oct. 23-24 and 30-31 with two shows (9 and 10:30 PM PDT) each night. Audiences are welcome from any location through the internet.
Tickets are $25.
For more information, check out the press release below and their event link.
You were warned. Don’t wander into a ring of mushrooms. Don’t stray off the path in the dark forest. Definitely don’t follow the lights, as tempting as they seem.
But you didn’t listen, did you? And now you find yourself in a most precarious situation. Lost in the fairy realm. Watch out for the strange folk, lurking in the forests and singing from the seas. Seek out the helpful little fae and heed their warnings.
Mystic Ventures Collective presents Don’t Follow the Lights, a virtual immersive dark fantasy adventure. The show will feature a mix of pre-recorded and live actors, gamified elements with riddles and puzzles, various possible endings influenced by audience actions, and spooky fun!
Don’t Follow the Lights will run 1 hour. Multiple viewings are encouraged as audience will experience a different show depending on their actions. The show will be hosted on gather.town. Requires internet connection, a laptop or desktop with microphone and video camera, and firefox or chrome.
If you are interested in booking Don’t Follow the Lights as a private party or a team building event, please email Mystic Ventures Collective at firstname.lastname@example.org