A cloakroom service is available at the theatre for bags, purses, coats and other belongings. Guests who refuse to wear a mask will be asked to leaveīags, purses, coat and other belongings are not permitted within the theatre. Sleep No More requires masks for both health protection and the show wearing throughout the show. Comfortable footwear is highly recommended Guests with medical conditions including, but not limited to, high blood pressure, heart disease, anxiety disorders, claustrophobia, etc. The performance includes the use of haze, smoke, strobe and laser effects. Those under the influence of alcohol or other substances will not be admitted Last entry to the theatre is at 8:30 pm for evening shows and at 3:30 pm for matinee shows. You are recommended to arrive at the McKinnon Hotel 30min in advance. Please arrive on time and line up to enter the theatre in order as instructed by theatre staff. Those who are pregnant or those with disabilities should contact the box office prior to booking tickets Sleep No More is not recommended for those more than 5 months pregnant. Proof of age may be required before entry.
Those responsible for unauthorized selling will be prosecutedĮ-tickets shall only be redeemed on the day of the show (30 minutes before the arrival time on tickets) at the box office, not in advanceĬhildren under the age of 16 will not be admitted. Tampered tickets will be rendered invalid and holders will be refused entry In the event that the show is cancelled due to force majeure, or any other reasons beyond the theatre’s control, refunds shall only be for the value of tickets purchased and shall not be issued for any other losses of any kind When I think back to this performance I feel certain I’ll remember the McKittrick Hotel more than any of the humans inside it.Guests do not need to worry about any language barrier, as the show has very little dialogue The cast spoke little and seemed more dancers than anything - balletic, physical, intense. We also saw lots of not-very-Shakespearean stuff: men fighting, couples dancing, a strobe-lit orgy featuring nudity and lots of stage blood, card games, and letters being written.ĭiffuse and sometimes disorienting, the performance didn’t feel like a performance. We saw highlight scenes from the play - mine were the banquet, which I saw twice, the murder, the uncovering of the raven’s prophecy. We wanted to see things happen, all of us in the white masks, & we hustled and wandered and sometimes broke into a jog as we tried to catch up to whatever was going on. One was a maze of leafless trees, another a spare half-grid of collapsing brick walls, thigh-high, with fake Baroque sculpture.
#Sleep no more full#
Some rooms were full of matter, overflowing with detail and debris. The soundtrack, from old Hitchcock thrillers, was gorgeous. I picked up pieces of paper, sometimes founds line from Macbeth on them, examined bird skeletons, ate hard candy, played a card game with one of the actors, though he did not choose me to give a shot of (apple juice?) whiskey at the end of the game. The set was really the star, because you could play with it. The scenes were brief, often powerful, and always fast: when the actors hurried on to the next room, they trailed clouds of awkwardly jostling masked audience members in their wakes. There were three distinct sets of people inside: audience members like me, wearing white masks theater staff wearing black masks and blocking access to certain rooms and stairwells and maybe 8 or 9 actors, without masks, doing various things.Īudiences want stories, so when we saw actors doing things - dancing, packing suitcases, trying to wash their bloody hands and faces in one of many bath-tubs, or smothering King Duncan with a pile of pillows - we gathered to watch. The place was full of great stuff, a candy shop, hospital wing, detective’s office/taxidery shop in which a fatal (stuffed) raven was disembowled to reveal a tickertape with one of the few Shakespearean lines I heard all night:
27th that had been transformed by Punchdrunk into a Macbeth/Hitchcock noir horror fantasy, I was thinking about how elusive the theatrical transaction can be. For a couple hours last night, while wandering through six stories of a Chelsea warehouse on W.
Alone, masked, and silent: that’s the way to see a play.
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