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Photograph: Stephen Dobbie and Lindsay Nolin/Suppliedīut Sleep No More is also a case study of the relationship – sometimes cozy, sometimes uneasy – between art and commerce. The piece continues to be markedly influential, sharpening New York’s interest in site-specific work and experiential events, a mild irony as the 1960s happenings that New York created seem a clear inspiration to Punchdrunk.Īn image from the 2009 launch performances.
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There are websites and blogs devoted to the show (and its ample nudity), as well as tributes on TV shows like Law & Order and Gossip Girl. The reviews – from critics and ordinary punters – are mostly ecstatic, and while the show’s American producers say, perhaps disingenuously, that they prepared for a run of only six weeks, Sleep No More doesn’t look like it’s closing any time soon. At each of the nine weekly performances, several hundred spectators (both Punchdrunk and the American producers, emursive, are oddly shy about giving precise numbers), who have paid between $75 and $170, not including cocktails, race around 100,000 square feet of space watching a wordless version of Macbeth as art-directed by Alfred Hitchcock. Click on any photograph to see it enlarged.Since it opened in New York in 2011, Punchdrunk’s Sleep No More, which shares premises with the Lodge and the Heath in a space known as the McKittrick Hotel, has become a theatrical sensation. Since the show began, “Sleep No More” now plays seven days a week, and it is popular enough that the “McKittrick Hotel,” still not a real hotel, has become a hub for nightlife, with a restaurant, a rooftop bar, a small concert venue, and a place for special event parties, on Valentine’s Day and other occasions, that offer “Sleep No More” in a package deal.
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I tired of exploration well before the three hours were up - thanks largely to the clammy and creepy Scream/Eyes Wide Shut masks we were required to wear - but spent some 15 minutes trying to figure out how to exit the place the mute masked ushers weren’t much help.
Audience members explore at their own pace for up to three hours.
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There are also drawers full of relevant photographs and letters to riffle through. One can wander on one’s own through the half dozen floors of close to 100 dimly-lit rooms, some of which don’t feel like rooms at all, such as a graveyard that seems to generate its own fog. It’s up to the theatergoers to follow the characters as they rush up and down the stairs, entering into various startling tableaux vivant – Lady Macbeth washing her hands naked in a bathtub, say - or rough-and-tumble dancing. The production depends on theatergoers’ prior knowledge of the Scottish play, generally a good bet, although the more recently someone has read it (or seen a straightforward production of it), the more the disparate images and chaotic moments of “Sleep No More” will cohere. It is the show that started the latest trend of immersive theater in New York, and it is an engaging if dizzying mix of design, dance and drama – or at least a trigger to recall the drama in Shakespeare’s tragedy, since none of the performers recite the Bard’s lines. It has been running since 2011 in a formerly abandoned club in Chelsea renamed the McKittrick Hotel. “Sleep No More” is Punchdrunk Theater’s staging of Macbeth, as if retold by Alfred Hitchcock and Isadora Duncan.
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