![]() ![]() This promotion of spectatorial choice has drawn critiques from scholars such as Adam Alston, Jen Harvie and Keren Zaiontz for its enthusiastic complicity in neoliberal modes of consumption and labor. Sleep No More’s immersive adaptation of Macbeth has attracted scholarly attention for its insight into spectatorial desires for mobility and interaction. As such, an interactive performance like SLEEP NO MORE points to the need for us to reconsider the boundaries between “game playing” and “play going” in the digital age. SLEEP NO MORE finds its success with audiences searching for new and innovative ways to engage with Shakespeare, live performance, and one another. The commercial and critical success of Punchdrunk’s Macbeth adaptation tells us contemporary audiences, steeped in digital technology, desire a participatory play-going experience as well. In so doing, the audience becomes invested in the game/play by physically participating in the act of storytelling and meaning making. Only through experiencing and interacting with the “in-game” environment does the audience come to create meaning and construct the play (or game’s) narrative. Like e a video game, the success of SLEEP NO MORE is contingent upon the interaction between the playgoer and the multi-layered playing space. Punchdrunk's work appeals to a generation of audiences raised on interactive, immersive, story-based video games in which the choices one makes affect the attributes of one’s character and the outcome of the story itself. TT however hated the mask and the dark so bailed after an hour or so.In this chapter, I argue the popularity of Punchdrunk's SLEEP NO MORE stems from the success of a similar phenomenon: dynamic story-based video games. It was a little crowded and I missed out some of the cast (Hecate for example which I was a bit miffed about) but I liked the elaborate and large set and the ability to explore. It felts like a long time to wait to enter the performance as you get taken down the elevator in groups of 8. ![]() ![]() After dinner we were whisked away in random groups into separate tables with a bottle of port and glasses - so most likely you’ll get separated from the rest of your group which is what they want you to do anyway. During the meal there are some random things happened, and at dessert a performance. All the courses were very well done, and wine was topped throughout the meal. The first starter - cold salad - was great but while we were being polite it was whisked away by the waiter to everyone’s shame. Hurry though and eat because they serve quickly and take away the plates quickly too as they are trying to finish dinner before performance. There are two starters, two main and a dessert, and they are all served family style. Everyone is seated at large tables all joined together. TT went to talk to the pianist but apparently he wasn’t supposed to be there, contrary to the rest of the performance after dinner. We went in about 10 mins past 6, where we were directed to the bar and got a couple of glasses of red wine. If you don’t want details of the dinner please don’t read any more…. At 55 dollars per head I wasn’t expecting much, but it was actually much better than what I thought it would be. We went to Sleep No More for the dinner experience. ![]()
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