Q&A of how our show is Immersive (questions by No Proscenium)
Q: In what sense do you consider the show “immersive” (knowing that this can take quite a few forms)?
A: The way in which Through the Wren is immersive is made possible from the moment audience members enter the blue door. They are first greeted by the Galloway Manor footman, Douglas, who checks them in for “their first day of employment”. Douglas gives the audience members black aprons top of show, with their first assignment of the day carefully tucked away inside on a piece of Victorian parchment. The apron not only unites our audience, but elicits a sense of feeling one with the house itself; surely encouraging explorations of the space and interactions with our actors in this unique world. The space itself will feel like an 1840’s British/Victorian estate: from décor, to sound design, music, and lighting. There will also be moments where we defy reality, and bring them into magical realism with unconventional lighting, hidden bread crumbs (sometimes in a literal sense) and items they can explore and even drink. They are completely encapsulated by this gothic world.
Q: How do you break the “fourth wall” and how is the audience “present” in the show?
A: One of the exciting ways our show breaks the fourth wall is by making our audience members (the help) active participants in their respective narratives, with one of our four main characters. For example, the Lady of the house, Viola Galloway (who embodies the Grimm’s Brother’s “evil queen” archetype, with additional depth and richness) may ask you to recite a letter. She may ask you to put something away in her parlor drawers, or unlock something for her… or she may gently pour a house-made concoction into your mouth to transport you to another time. Our show guarantees one full story arch with intersecting stories; which helps you build a special relationship with your character. Moreover, because the audience is the help, they are present as the ultimate voyeur and unlock the story not only by their interactions with characters, but also in their investigations of the space… if they dare to be curious.
Q: Can you elaborate, for example, how interactive the show is?
A: Interactivity was a facet we really wanted to explore, and the way we plan to do it melds together another genre: gaming. For example, if they open a specific drawer or lift a tea cup, it could trigger a unique soundtrack for the actors to enter into a different scene (not in the show’s linear track) or unlock a “hidden area”. These scenes are usually “memory moments” where the audience learns something new about the respective relationships. Other examples include picking up a phone or turning on a tape so they can hear a secret message. These interactive moments we hope only enhance the immersion and the understanding of the story itself. It gives the audience a sense of magic, and makes this four-character story more expansive than it seems.