Earlier this month, horror-movie (based on the novel by Stephen King) was, in the cinema. You can also have seen.
But surely only the most courageous among you, the “immersive” screenings of the film would have made.
Such fans would be, I had the pleasure of a real-life Pennywise the Clown creeping round the auditorium during the movie, out at you from the back and basically scare the living daylights out everyone there.
While many of us might think, that sounds like the most absolutely terrifying experiences in the world, not everyone feels this way – immersive horror has always been a thing.
“There is a huge growth in this area,” says Simon Oakes, managing Director of British horror brand Hammer, of the world premiere of their first immersive show, The Soulless Ones.
“It is a generation thing, the newer audiences want something more physical, emotional, movement, an experience that is different from the promenade shows that you’ve seen, or the traditional theatre.”
There’s someone in the cinema has been in the last ten years knows, a lot of people are struggling to go for more than about four-and-a-half minutes without checking their WhatsApp, so the appeal of immersive theatre, it is easy to get totally engrossed in something and separated from the outside world.
Of course, we have seen, very popular, immersive shows, before with the likes of Punchdrunk and you Me Bum Bum train.
“There is a whole generation of younger listeners, thrilled by the idea that in a story rather than told it,” says Oscar Blustin, co-writer and co-Director of the Soul-less Love.
“I think that gaming has a lot of, and how young audiences expect things to be interactive.
“If you are watching TV, we have all screamed that at the screen,” Don ‘T go in there! “or” Don’t go upstairs”, I think artists are in the realization that this is his audience with the narrative.”
In the case of the Soul Those who, Simon says: “We wanted something original.”
“With something like The Great Gatsby or Alice in Wonderland, the white audience what you are going to get. If you know the show, you have already purchased, in what could be the creative expectation.
“So we have to start with a completely new show, this is not a Frankenstein or Dracula, as a story, it is original.”
Horror is probably the genre which offers the most potential to create a comprehensive experience for theatre-goers.
“I think this is because it says in the location, throw a light on your deepest fears,” Simon.
Not to scare, “we want the people, and the people frighten you so much as disturb. But it is not a jump-scare-performance, many of the modern horror films.
“The General philosophy behind horror is that, if you don T care about the people you don’t care about what happens to them, and with the great genre Directors such as Kubrick and Hitchcock, you were invested in the characters.”
While the captivating performances of Stephen King ‘ s It to promote just a few special, organised the film, The Merciless, has a residence in the Hoxton Hall in London this week to 31.October.
Oscar explains, the show “a hive of vampires who are trying to perform a ritual that allows you to walk in the light of day – it is our take on the vampire legend”.
“This is the all-encompassing story, but it is 14 characters, and 18-20 different rooms around the building, they all interweave and connect, it is a patchwork of narrative strands.”
Now this might sound a little overwhelming, but Simon argues that an important aspect of the appeal, the potential for repeat visits.
“Due to the number of rooms, we have 14 hours in total of pre-prepared material,” he says.
“And I hope that is one of the reasons why people want to, could see it again. You would easily be able to see the show four times, and never see the same show twice, if you were smart about the route you take.
“Which room you go in, you get a different page of the same story.”
Oscar points out that the audience would fight, play with their phones during the performances, even if they wanted to, “especially because of the Victorian music hall to perform, we, has absolutely no signal”.
And if the fans enjoy the experience, it could lead to other, similar projects.
“We’re not like Marvel or DC comics,” says Simon, “at the Hammer, we feel that immersive theatre is a fascinating part of what we do, with a view to the creation of intellectual property.
“But what we don’t have a place in this area, if it is successful, will be a block on the other.”
Oscar adds: “people are on the hunt for unique experiences in particular.
“There is so much to talk about, immersive theatre, the audience, the compare can. advice on what you have seen, and the different experiences that you have had in the same show
“In the bar afterwards, I’m anticipating a lot of” What did you see?’ Conversations.”
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