Exit Murderer

'Explain all that,' said the Mock Turtle. 'No, no! The adventures first,' said the Gryphon in an impatient tone: 'explanations take such a dreadful time.'

I came to the show later than most of my crew/coven/cadre. And I said my goodbye last summer, long before the final shows. And it's not like I saw it that many times, compared to some (once for every card in the deck, plus a Joker). But here I am now, on this rickety old platform, mostly to give thanks to the other denizens, whether they're still hanging on (hi, Scorched) or long-gone. This place was a lifeboat for me, starved for information and connection after my first show, unable to get back to NYC for a very long time after (a story for another occasion, one that definitely doesn't need to be here). Do I have anything more to say about that show, that place, that's different from what so many people, fans since 2011 or performers hired since the pandemic, have to say? I doubt it. Let's end (?) on this, some posts I thought of but never made. Because why not?

More personal info about my connections in theater and augmented-reality games (nah, I'm just not built to be that self-revelatory).

Comparisons of the pre-show speeches in SNM and other productions such as Third Rail's, how they calibrate the audience (or don't), what the intent is, how they compare to the briefings in Nordic-style larps.

Pointless meanderings about the fandom and superfans (or whatever you want to call them) and how they weren't anticipated by Punchdrunk initially.

A zillion more links to SNM performers in music videos and such.

Which emoji best corresponds to each character, a chart.

It seems a bit silly to leave the ring quest in post-Careena.

A best guess at the chocolate blood formula.

An analysis of the program (the French fold version).

The parties sure are loud!

Anxiety!

Any number of reactions from theater and fiction friends who went only once, or who auditioned, or both.

SNM Boston's "why you didn't get the 1:1" is canonical, but I really enjoyed this concise description of 1:1s from Emma Cole's latest academic paper (The Apolline, the Dionysiac, and Spectatorship in Punchdrunk’s Masked Performances). That last sentence is doing a lot of work:

The new thing: Life & Trust. My reaction is very similar to what various reviewers, including the venerable Scorched, have said. Afterward, returning to the lobby I walked into an immediate debrief with friends. What did Emursive learn from running SNM for years, and how did they implement it in this show? What were their objectives? The primary one seemed to be: how to make the mask at least ten times worse than the SNM/PD mask. I say this as a glasses wearer who can't use contacts. The spaces were huge and there were many surprises and delights. The set dec itself was much less surreal. Higher style, fewer vibes. The comparison with SNM is impossible to avoid. After my first SNM, even with the old "the men are all dressed alike" problem, I could easily identify the witches, Hecate, Nurse, the Macbeths, Lady Macduff, Banquo's ghost. I could piece out the main story of the show and I could also create one from my own individual journey. With L$T, I don't know that I got a satisfying whole or a satisfying individual character story for anyone. I had just read The Picture of Dorian Gray and I saw literally zero of that content, even though I've heard it's in there. Faust, sure. There was Mephisto, there were various people brandishing paperwork. Yes, you get some info about Conwell in the pre-show, but little or nothing about any other characters. I followed the apothecary/chemist, ably played by Brandin Steffensen, and mostly got that he was doing some experimenting, on himself and possibly on prisoners and other people, with at least a couple different kinds of green fluid. There was also a fizzy purple fluid but it was unclear what that was supposed to be doing. Cops and paperwork and lots of tug-of-war dance battles were involved. Yes, it was interesting that all the characters I saw seemed to have full loops. No Matron or Hecate equivalents, no immediately obvious resident/traveler distinction. I need to think more about whether that's a feature or a bug. Probably a bit of both.

So, did it grab me? Not the way my first SNM did, certainly. Yes, I want to go back, because I want to see more spaces and more characters and I do want to see if I can get coherent character stories and a coherent overall story. I'm looking forward to that. I'm not looking forward to that horror of a mask again. We'll see how show #2 goes soon.

I am nowhere near an OG fan. I'm just someone who was in NYC for other reasons in 2015 and thought I'd check out this thing I'd heard of from various diverse quarters. And now it's ending and maybe this was my last weekend there. Maybe not, but as of now this here out-of-towner has no future tickets or flights or hotel rooms booked. So maybe this really was goodbye. If it was, here witnesseth the deponent:

With few exceptions, this weekend for me was about the returning pre-pandemic cast. Steph Crousillat might no longer be bald but her Bald Witch is top-tier trickster ferocity. I looped, I danced, I had my hands and face inspected via sniffing, what more could a foolish mortal ask for?

Turns out, a lot more. For instance, in my first show of the weekend, I'm watching the third-loop party from the mezz. No Bald! Banquo's just kind of circling the party, mostly chatting with Lady Macduff. Soon after, it's clear Steph has been replaced by Jess Smith, who completely shifted gears from distant dreamer Matron to fully IDGAF Bald Witch, what a transformation. Also, happily Steph C. was back on as Bald the next day, so here's hoping that whatever happened in the show wasn't too serious.

The next day, Witch Week continued (Note: Every week is Witch Week) with Chelsea Bonosky on as The Witch Formerly Known As Sexy. Maybe the most aquatically-informed Sexy I've seen in a long time, every movement with grace and flourish as if delivered from the back of one of Neptune's finest dolphins. Also, for a show where everyone talks about the performers' eyeballs, there was some amazing eye work going on there as well, the micro part of the macro, widening and narrowing and rolling. Rolling like the waves. Or maybe that was all in my head.

Lady Macduff was a very important loop and very important 1:1 for me, for reasons that I sure as heck ain't gonna get into out here on the Tumblrs (let alone the Discords and the Tiktoks). I was a wreck (in a good way) when I spent a first loop with Ingrid Kapteyn's furtive/sad/devout/determined/compulsive/maternal Lady Macduff.

Let's say the last show of the weekend was my last show ever. Well, I spent that last loop with Evik Main's Porter, watching that sad/tortured/defiant/funny employee of the world's best fake hotel work magic yet again, whether covered in a sheet or with toast hanging out of their mouth.

I spent a lot of time just saying goodbye to spaces, to props, to various angles and framings of the action--production stills taken by my brain.

No, not all--of the four shows I had booked last week, I did get one, the non-slight return on Saturday night. And what a show it was. For the first time in a while, I pretty much did three straight loops, no wandering. I have nothing but good things to say about the performances, whatever bad things I might have to say about only getting one show of the four I had expected. Oh, here's a bad thing: the elevator was broken. After valiantly ringing the bell three times (just like in a fairy tale), Vivian let us in by the stairs. I still got to the ballrom before the witches had entered.

Regular readers will not be shocked to learn that yr humble servant will follow anyone they've never seen before as Bald Witch. I had never seen Taylor Massa's Bald Witch. I followed. It was good. Really, really good. In addition to being as feral as the role requires, there were nice flourishes and touches like an insidiously half-romantic wake-up kiss for Banquo, detail work that's much appreciated.

Jess Smith's Danvers. This time in the traditional housekeeper's dress--sure seems like I saw her in last year in the new Communist Worker's Party version of the Danvers costume. AT ANY RATE, I am a fan of this performer's work and nothing happened in this loop to change that. The work on the couches in the Macduff suite was smooth as glass, and I'm pretty sure there was literally levitation at one point. Never a moment of downtime; it was gripping just to hang out in the dining room while "Is That All There Is?" played in the next room over. "Let's break out the booze" punctuated by a slug from the water bottle, always dreaming of a better life.

Georgia Usborne's Lady Macduff. This was a really interesting interpretation--something about the way the drugged milk hit this Lady Macduff was different. I was lucky to have the hand offered and the main thing I felt in that room was a sense of CARE, at least until the turn in that particular 1:1, a feeling of protection and concern but all of it graceful and fluid. Also, I had an incredibly runny nose (let's call it exertion-induced rhinitis) the instant my mask came off--authentically child-like and incredibly embarrassing!

What else is there to say about this one? Oh, something I hadn't noticed in a while if ever: the first Witches 2, there were not many folks in the Rep Bar and everyone was standing well back, and the witches and especially McNally's Macbeth took full advantage of this, using all the space, flailing and flinging choco-blood as the strobes hit.

As it turns out, I don't have much to publicly say about the shows that got cancelled, other than to note that the Guest Relations staff are consummate pros and swell folks.

We are in the final weeks or months, it seems. The rest is bullets…

It was a time to visit known favorite loops: Sienna Blaw's DGAF Bald Witch.

It was a time to see new favorite loops: Taylor Massa's DGAF Fate Witch.

Another known favorite, in their last turn as Lady Macbeth, Marija Obradovic. Leaving it all on the field, on the dance floor, as did…

Jenna Saccurato as Nurse and then Bald Witch, absolutely feral, all out, turned up to eleven, all the adjectives and adjectival phrases. I made a point of being in the ballroom 3rd loop and indeed Jenna got lifted and deserved every clap and cheer and whoop in the place, and there were many.

Also leaving and duly noted, Jeff Docimo as Macbeth and Porter, Andrew Pastides as Porter.

I totally missed Nate Carter as Taxidermist (and earlier, EAM). It wasn't for lack of looking, but I tried the shop and the Macduffs' and the cemetery, right place / wrong time I guess. This is partly a symptom of me taking the stairs in now, to try and get to the ballroom more quickly, so I don't even know who is working the elevator.

Wasn't trying for the PIB 1:1, just wanted water, but hey, if someone hands me a note that says "Follow Me" then that's what I'll do. At least, in the McKittrick.

Kind of a bummer to see a group of fans stage-dooring for autographs and photos, when all the exits are right there on 27th and most folks probably just want to get dinner on their break between shows. Eh.

Fun to watch Will Boyajian's show a couple times. Like watching a magician and trying to figure out how the trick works. Oh, here's where he's dissembling and stalling for time, pretending not to know something, etc.

How long has Porchlight been open late just around the corner, with food, at least on Fridays and Saturdays?

Related Extracurricular #1: Derrick Belcham videos at Williamsburg Biannual. Many familiar faces: Lily Ockwell, Emily Terndrup, Bobbi Jene Smith, and so on. I stayed for close to two hours, could've stayed all day.

Related Extracurricular #2: Kelly Todd's Endangered Species at 280 Gibney. Intense, strange, darkly funny, and by the end, moving. Lots of good folks onstage and in the audience.

The city that never sleeps sure does sleep a lot these days. I guess COVID-19 takes a lot of the blame. Anyway, walking out on a Sunday night into the cold drizzle looking for food, getting turned away at the aforementioned Porchlight, and not finding anything open for several crosstown blocks until a perfectly fine, perfectly generic IrishPubCo (which was almost empty and almost closed). Of course what mattered was the company (which was stellar), not the venue.

I'm so behind, had meant to post after the closing announcement, but didn't. And then I was back at the hotel for the New Year. There were good things and less-good things. Here are some of the good things…

Jess Smith's Sexy Witch, continuing a series of proofs that you don't need a 1:1 or a big interaction to have a spellbinding loop with a performer.

The little ways that witches can change up a pre-party dance with you while still communicating so many things, the main thing being "watch how I'm gonna go fuck shit up."

As we all know, all those interactions are gifts, but it was nice to get walked out after two of the three shows. My first stage right walkout, I think.

It's the end times, so see the old favorites while you can (EAM Porter and Taxidermist) and find new experiences too (Taylor Massa's Matron, Noah Wang's Nurse).

The new PIB 1:1 is bittersweet and it's cool to see them still adding stuff this late in the game.

(Funny to me, how few times I've seen this show compared to some folks who started right before or during the pandemic. So it goes.) Well, there I was, back in the hotel on a quickly planned trip thanks to some Extremely Swell Folks.

Dora Wolfe in the red dress! She was making really interesting choices, esp. the lip sync.

The newer cast member I most appreciated was Andrew Robinson on as Porter. Nice to see someone of a certain age in that role, knocking it out of the park emotionally and physically, dancing like a mofo when the time came to dance.

And then I followed full loops of folks I knew I'd appreciate, even if I hadn't seen these particular full loops before: Marija Obradovic as Lady M, Aliza Russell as Bald, Jessica Smith's Danvers and Nurse. I cannot overstate how beautiful and moving their work is.

Speaking of the aforementioned people, it's great to see performers who are just Going For It. In boxing there's the saying "let your hands go" and I guess for dance it would be "let your whole dang self go" and it's so cool to see when people are doing exactly that, they just DGAF and all the knobs are cranked to 11. I didn't loop them but Tim Heck and Nate Carter as Macbeth, they go under this heading too.

Extremely cool to see Emily Oldak show up at work in the hut. Knitting!

Great as always to see Karen Marie singing. New singer Isla (sp?) is also doing top shelf work.

I am jetlagged and don't have the time or the brain to write up anything beyond some bullet points, so here goes:

I spent almost as much time at Dial Arch as I did in the show. This is not a bad thing, especially when there are friendly British fans and friendly performers and crew about. Imperial pints, yay! UK spirits measures, boo.

The VIP was worth doing once. Subtle references to the Eleusinian Mysteries on the kykeon bottle, nice. I don't know what the spec is but basically it was a drink for people who don't like whisky--mostly pineapple and other fruit flavors, presumably with some Dewar's in there somewhere. The museum/hallway scenes with Yilin and Sam put some nice flourishes on the Persephone storyline.

The three high points of my shows were these: 1) a Full Persephone with Lily, managing both X:1s and the Elysium coda. 2) a new-to-me Hades 1:1 with Sam, which brought new meaning to the word "underworld." 3) Fania bouncing back and forth between queen of Troy and queen of Mycenae.

Other things I knew that I'd enjoy, and did: seeing Ingrid on as Cassandra and the Watchman. Spending a loop in Peep with Lily and Isaac (I still can't get that stack-of-drawings trick to work, though).

New discoveries for me this time included a bunch of scenes that I hadn't witnessed before, and performers I'd never followed before. Ally Clarke as Artemis, holy smokes, and as Luba. Brenda Lee Grech as Macaria, ditto. Omar Gordon as Luba and then Agamemnon (with Fania/Clytemnestra!).

Thanks to FOH for taking pity on five of us huddled under two tiny umbrellas during a sudden downpour, and letting us into the lobby early.

I think I'm a real connoisseur of the blinding / Troy finale now, although I can't quite articulate the difference between when it works for me and when it really REALLY works for me. It's almost always moving and in fact more of the scenes were moving to me this time--I think knowing the space and the rhythms better meant that I could just get swept up into the narrative more easily. So I was tearing up at scenes both familiar and not. The bit where the Watchman mournfully takes up Iphigenia's red cape and holds it up to a rope as if it were a sail--sob.

There were some other 1:1s and walkouts and such, which don't need enumerating. All of them gifts.

The era of "which old-timer/all-star is going to be in the show tonight?" is upon us. And I was happy to be there for it.

Dora Wolfe on as Lady Macduff! Drugged teetering and falling, A+.

Ilana Matron!!! Yeah, the joke about "you getting to hear Pagoda Woman tell you a story for the 12th time" is true ... and yet, her Matron is great in its own special way, and much appreciated.

Walking in to the ballroom and having to decide which OG cast member to loop: Jordan Morley as Boy Witch or Sophie Bortolussi as Lady M. (I chose Jordan.)

Confirming for myself that there is a stuffed bear in Hecate's lair. I'm always surprised by people who can describe what the lair or the hut look like inside, because I'm 100% staring into the eyeballs of whoever brought me in there, hypnotized.

Jenna Saccurato's Nurse, manipulated by forces beyond her control, so good.

I caught the very end of Marija Obradovic as Lady M, and made a mental note to follow her if I ever see her in that role again. As passe' as the Macbeths are for the enthusiast crowd, it's a loop I really enjoy.

Steph Amoroso playing in the Manderley on Friday night. Her voice and range just keep getting better and better; her originals are catchy as hell. Guest spot from Alec Funiciello, also fun.

Great to see old friends and new. S'more Rice Krispie Treats! Manderley inspired soap! Drinks at Gallow Green, Manderley, and Ovest! Lots of other stuff crammed into a short trip for unrelated biz! (Thanks especially to folks who came out for my unrelated biz.)

Five visits to The Burnt City. Warning: possible spoilers.

I'm not going to try and recap every show. But here's the first one. I went in knowing a few things but mostly unspoiled. I had read or re-read Hecuba, the Oresteia, Metropolis, and Do Androids Dream of Electric Sheep? I was in the first batch let in for each show, and every time we got the Troy entrance. I wandered and soon enough found some rooms in the Hotel Elysium. I kept wandering and eventually spooked another white mask while I was emerging from a particularly dark corner. Like they literally jumped and screamed, just because they suddenly noticed me. The first character I laid eyes on was the florist. Eventually he took another person for a 1:1. The Greeks invaded, Polyxena died, and knowing that Punchdrunk characters rarely stay dead for very long, I stayed and then followed her until she literally climbed a wall. I poked around and finally found Mycenae, which I explored, but by then the Clytemnestra/Agamemnon crowds were as dense as the Macbeth crowds in SNM, so I went back to Troy and followed Kampe a bit and then Zagreus for a while until inevitably losing him at a 1:1. More Greece, lots of exploring and then the finale there.

It's hard to tell how much of it's actually the intentional design of the show, or due to it still being new, or to COVID-19, or to how boiling hot it can get in there, but it was interesting to me how some things felt a bit more inconsistent than, say, SNM NYC. Most obviously, a couple of the characters don't loop--that's obviously intentional design. Some of the performers don't do 1:1s--or maybe they don't do them in certain loops? Hard to say. Related, some characters can be very different, not just in tone and small actions, depending on who is playing them. Particularly Kampe. Unrelated, it was really interesting to see how they used the bar in the show--"Lynchian" is an adjective that gets used a lot with Punchdrunk but to me the most Lynchian moment I've ever seen is Hades singing in Peep.

@sleepnomoreboston made an interesting point, that maybe it's time for Punchdrunk to move on from 1:1s, and I can see the truth in that. At the same time, of course, I'd love to eventually experience all of the ones in this show. As it stands, I had Luba's 1:1. Other folks in my group got many more than that, but as always, randomness and unknowability ruled the day.

A thing I'd ask Felix (or whoever) about the Punchdrunk model of show design: Are you designing a show that pushes the audience to be their best selves, or their worst selves?

What else? How about some stats and bullets?

Characters where I saw all their public loop: Iphigenia, Persephone, Kampe, Polyxena.

One walkout for me: Alison Adnet as Artemis. I believe that Alison went to the NC School of the Arts so let me just say: Fighting Pickles, represent!

Most moving scene: Easily, the comeuppance rave against Polymestor / the Troy finale. All cylinders of PD clicking for this: sound, lights, movement, narrative, performers. I saw it multiple times and every time was a tearjerker.

Performers who blew my mind above and beyond: Sam Booth, Lily Ockwell, Miranda Mac Letten, Fania Grigoriou.

The Abenes were in town and whitemasking some shows, so it'll be interesting to see what they cook up here.