VIEWPOINTS – Playing with immersive theatrical forms: Punchdrunk’s VIOLA’S ROOM at The Shed and Hermès’ MYSTERY AT THE GROOMS’

A few weeks ago, I had the chance to dive into the world of The Death of Rasputin, an immersive theatrical happening that recreated the Bolshevik Revolution on Governors Island (you can read my review of that experience here). This past week, I was able to partake in two other immersive endeavors, both of which continued to play with the form in interesting ways. As per usual, read on for my thoughts.

A scene from Punchdrunk’s production of “Viola’s Room” at The Shed (photo by Marc J. Franklin).

VIOLA’S ROOM
Punchdrunk at The Shed
Through October 19

No one company epitomizes the niche form genre of immersive theater more definitively than Punchdrunk, a collective which over the years has brought us some the most beguiling, meticulously produced examples of the genre; here in New York, its legendary, now-shuttered production of Sleep No More has left an indelible mark on the industry (beyond Sleep No More, I was also thoroughly engrossed by subsequent projects like The Drowned Man and The Burnt City, both of which were mounted in similarly epic manner in London). Punchdrunk’s latest — Viola’s Room at The Shed in Hudson Yards (HIGHLY RECOMMENDED) — represents the company once again redefining and refining its lens, both in terms of expressionistic aesthetic and pyschologically-astute storytelling. Unlike its sprawling open world creations, Viola’s Room is cast-less and focused — an intimate, linear hourlong journey which embarks in groups of only six at a time. What starts off as a traditional fairytale about the adventures of a sensitive girl quickly spirals into a knotty existential meditation on the anxieties of living in the big, bad world (no spoilers here). Throughout, the attention to detail is astonishing, which is unsurprising as it is one of the company’s trademark. You’ll also have to suspend day-to-day logic and rely on one’s God-given senses — particularly sight and touch — to navigate and make sense out of our heroine’s increasingly splintered reality. Contributing to the atmosphere is the show’s 1990s emo soundtrack, which digs its claws into the participants’ sub-conscience well before having to officially set out on their way.

A scene from Hermès’ production of “Mystery at the Grooms'” at Pier 36 (photo courtesy of Hermès).

MYSTERY AT THE GROOMS’
Hermès at Pier 36
Through June 29

In addition to Viola’s Room, I had the opportunity to engage in another uniquely immersive experience called Mystery at the Grooms’ (RECOMMENDED), which was mounted for a week-long run at the warehouse-like Pier 36 space in downtown Manhattan. Produced by the French company Hermès as essentially a product placement showcase for its luxury fashion catalog, the event seemed like a dark horse in the world of immersive theatrical happenings. Having experienced it, I was surprised at how charming and well done it was. The premise is fairly simple. In the experience, visitors took the the mantle of detectives who are tasked to locate horses that have escaped from their grooms. Across six meticulously appointed rooms throughout the grooms’ quarters — it’s clear that budget wasn’t an issue in mounting the production — you’re asked to use your keen sense of observation to find five horses hidden within each of the detailed environments. Part escape room, part scavenger hunt, and part immersive theater, the entire affair was thoughtfully designed and executed, thanks in large part to the care and professionalism of the actors and operations crew. Although it lacked the emotional and dramatic heft — as well as the aesthetic and storytelling sophistication — of Punchdrunk’s Viola’s Room, the experience made up for it in terms of its polish and playful interactive elements. As far as its difficulty level, I found Mystery at the Grooms’ to be the ideal combination of being moderately challenging yet lots of fun; not once did I find myself frustrated. As such, it’d say it was the perfect family-friendly activity. And at just an hour long, I left the experience satisfied and felt that it was worth the long, smoldering trip on public transportation to Pier 36 (that being said, admission was completely free!).

Categories: Off-Broadway, Theater

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