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Buzz
Big Spaceship Think Blog-SLEEP NO MORE: Crafting Experiences
| Posted in Buzz • Sleep No More | By Vance
JUL 06, 2011
By Victor Pineiro
A few months ago our strategy team took a trip to a set of abandoned warehouses in Chelsea to experience Sleep No More, an immersive theatrical production put on by Punchdrunk, a British site-specific theater company. After donning masquerade masks, we were treated to a production unlike anything we’d witnessed before – the world of Macbeth spelled out in a six story stage, each of us free to explore it at will, with actors making their way through the set while we all observed like so many ghosts surrounding them.
Curious for more details about Punchdrunk/Emursive’s process in creating the show and staging it in New York, we contacted Vance Garrett and Alexis Meisel, Supervising Producer and Marketing Director of the production. They talked us through some of the process, and the unique appeal of immersive theatrical experiences.
Why do you think an immersive theatrical experience like Sleep No More has resonated so strongly with its audience?
Vance: Now’s the time – the city’s hungry for it and there’s lots of opportunity. It’s cool to be in a real space, in real time, with real people, experiencing something in a non-passive way. And I think that’s what our group is trying to figure out – how to reawaken these experiences.
It amazes us that so much of the audience’s experience of Sleep No More is left to chance – how does this element play into the production?
Vance: I think what’s most interesting is what the audience chooses to participate in, and what feels like it’s chance – and how these deliberate choices play into chance. The audience puts effort into having a certain experience, whether its following a character or engaging with a scene.
Alexis: What seems like chaos to an audience member, with a million things going on, is actually very well choreographed, organized, and timed from a logistical standpoint. Proving, even more-so, that there’s no one route you can go – and again, to a larger point, there are some things happening on one floor that are speaking to events happening on another floor. So that’s a great way of showing how there’s no way of “doing it right” because you would never know that these two things are connected during any one experience.
How do you research something like Sleep No More, where props tell as much of a story as the actors?
Alexis: There was a ton of research done by our designers Livi Vaughan, Beatrice Minns and Felix Barrett. It was like command central here – we had a bunch of people going book by book to research the material. The thought behind the design was extremely well informed, and that’s part of what takes it beyond imagination. The props do have a story of their own, and everything is very carefully managed by dedicated teams leading up to each show. But once the scene is set, it’s really in the performer’s hands.
Why did you require audience members to wear masks and how do you see it contributing to their experience?
Alexis: There’s a psychology in being behind the mask – it’s a very interesting group dynamic. I think, from personal speculation, being behind a mask can do one of two things. It can either make you feel braver and empower you to do more, or it can do the opposite and strip you of some of your identity and make you self-conscious. It takes your inhibitions away and lets you become someone else in this other world, and it’s interesting to see people’s reactions. It is a game-changer – and it definitely has an effect.
How do you see digital working within these experiences as they’re evolving?
Vance: Well I have my own ideas and theories about this, but the truth is I’m not sure. And that’s why I’m excited to play around with it and see exactly where the digital and the physical can play around together. I think we’re moving toward a place where they have to coexist. We have to figure out how they can live together. Whether it’s augmented reality or something else, I don’t think we can ignore it anymore.
However, it’s a double-edged sword right now. On one level augmented reality is a good way to feel like anything is possible, but the challenge as an artist is how to loop that back into subjective reality, where you actually have one-on-one experiences. We have a lot of work to do to figure out how these two worlds coexist at the same time. I have more questions than I do answers.
What insights on human behavior have you gleaned from your experience with Sleep No More?
Vance: There’s a phenomenon known as entrainment, which is when the audience members are operating on different frequencies but then give up their differences to work with one another. People start to breathe at the same rhythm, and their hearts beat at the same rhythm – and this implies that people subconsciously want to do what everyone else is doing.
It’s not enough to imagine that people are going to be satisfied being at home, by themselves, experiencing some form of reality – they really love to be physically near one another sharing that experience. Across the board, people like to follow one another, they like to talk about what they’re experiencing, they like to commiserate.
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6/23: EMPT’S NOCTAMBULE w/ The P. Agency @ The Manderley @ the McKittrick Hotel
2011-06-12 | Posted in Buzz • Productions & Events • Sleep No More | By Vance
Noctambule 6.23.11
That’s right fools, you know what Daria means around these parts – we’re having a party! The saga continues as we bring back Noctambule the only way we know – BIG. I’ve been very fortunate to link up with some very cool PR ladies from a company called The Participation Agency who share our artistic taste, love for the big show and passion for quality. I have no time for anything these days and they’ve helped put together something ridiculously cool for yall and for that we’re so thankful.
The party is taking place at the Sleep No More space and if you’re not hip that what that is then get familiar. Sleep No More is hands down the illest art to hit New York City in the last 10 years. Any attempt at describing it is completely futile so just look it up, buy a ticket and thank us later. The point is this space is ridic and EMPT is the first outsider to come rock the place, we’re honored to be a part it. The event is…
Which means we’ve got an open bar and other goodies to keep you rocking. I haven’t spoken to Kevin yet but I’m sure Casey Mendoza will do a DJ set and did I mention there’s a live performance from Like Diamonds? Fresh.
Like Diamonds – In This Together
After partying in Vegas two weeks ago I didn’t think I would be able to get excited about much but I’m really looking forward to putting this on for you guys. We’ve worked with some amateur league representation in the past so I’m a little scarred and since I can’t bare giving you guys anything be the best I almost backed out of this one. However, the girls at The Participation Agency showed me what professionalism is in the world of PR and knocked this out in style so expect a heck of a time.
I’d love to host the entire EMPT army but space is truly limited on this one so if you want to rock RSVP at noctambule@etmusiquepourtous.com
RÜFÜS – We Left (Ride The Universe Remix)
T STYLE: “Big Apple Circus Goes Indie”
2011-01-08 | Posted in Buzz • Rock & Roll Circus | By Vance
Big Apple Circus Goes Indie
| DECEMBER 29, 2010, 5:00 PM
Photo Vito Fun-Jessica Resler and Adarsha Benjamin, co-producers of the Rock & Roll Circus at Lincoln Center.
On Jan. 3 and 4, an independently produced event modeled and named after the Rolling Stones’ 1968 Rock and Roll Circus hits Lincoln Center, with a lineup of indie music darlings like So So Glos, Amazing Baby, Japanther and Nick Zinner of the Yeah Yeah Yeahs. But it’s more than just a concert staged under the big top: food trucks from Mexicue, Van Leeuwen and Asia Dog will be present, and Tuesday’s show includes Big Apple Circus performances. The Moment caught up with Jessica Resler, founder of the brand development firm Muffincupcake, who engineered the project along with the event producers Adarsha Benjamin and Vance Garrett.
How did Rock & Roll Circus come about?
Jessica Resler: Vance and I worked together this summer in Fire Island. I was doing all the marketing and brand strategy, and he was doing all the events bookings. After Fire Island, one idea that came to him was that the Big Apple Circus was looking for people to alternatively produce in the big top. Vance used to be an aerial acrobat in the circus, so he was really excited when they reached out. My friend Ardasha was in town, and she had the amazing idea of doing the Rock & Roll Circus. She has all the connection to the bands — they’re all her personal friends, so it was really easy to pull it all together. And then my side of it has been really pulling the business side of it together. We’re a very well-suited team for each area that needed to happen. We’re independently producing in Lincoln Center. We had two days to get together $25,000 to be able to do the event — we borrowed it from friends. We were sitting there like, “Oh my God, there’s no way we can do this.” The first two people I called said yes.
What was it like coordinating an independent party with the Big Apple Circus?
JR: That has been a big thing. Our conversations now are like, “How can we integrate the Mongolian contortionists with Nick Zinner’s group?” We’re trying to confirm whether we can use the dog or the pony act. They’re cruelty-free, so they don’t use elephants or tigers, but they have some gorgeous ponies! The circus is an amazing, perfect, polished product. It’s been a big learning curve. They would really like an adult show to be able to come through there and not alienate the kids’ shows.
What are some ways you’re doing that?
JR: We’re trying to stage some surprises. There’s going to be face painting and props, a tattoo artist doing little circus-style tattoos.
Why did you decide to make the first day free?
JR: Well, the first day doesn’t have the circus acts; it’s just under the big top. For one, we’re considering our sponsors and the biggest reach they can have for an event, so we said, “Let’s give it a big kickoff.” And our nature is to say, “Let’s make this a big community-driven event with as many people and personalities as possible.” And it’s fun to be able to organize a free event and be like, “Yeah, bring everyone!”
Go to rockandrollcircusparty.com for more information.
PAPERMAG: “The ROCK & ROLL CIRCUS is coming…”
2010-12-18 | Posted in Buzz • Rock & Roll Circus | By Vance
Stuffed Animals On Tour + Steak ‘n Shake in Vegas in Today’s Eight Items or Less
By Gary Pini
1. One of the strangest holiday gifts we’ve seen is the “ Stuffed in the City” tour of New York City. For $100 you can ship your favorite toy to the Big Apple for a one-week tour documented with photos and a souvenir. Go here for all the details. Your teddy bear will love you.
2. While you were partying during Art Basel Miami, curators from the Norton Museum of Art (1451 S. Olive Avenue, West Palm Beach, Florida) were busy buying pieces at the fairs held around town. The works are all featured in a new (and timely) exhibit called “Now WHAT?” that’s on view until March 13, 2011.
3. The Rock & Roll Circus is coming to Lincoln Center’s Big Apple Circus tent on January 3 and 4. On the first night, admission is free with performances by Japanther, The Pharmacy, PAPERMAG contributors the So So Glows and more. On the following night, Susan Sarandon will introduce OK GO!, Amazing Baby and others.
4. A branch of Steak ‘n Shake opened in Las Vegas at the South Point Hotel.
5. After a ten-week run, the Levi’s Photo Workshop (18 Wooster Street) is having one last party on Saturday, December 18, 8 to 11 p.m.
6. Daft Punk‘s Tron: Legacy soundtrack became the French duo’s highest charting US album after going straight onto the Top 200 at number 10 this week. The film opens at midnight tonight.
FLAVORPILL PICK: Future Shorts One November
2010-11-17 | Posted in Buzz • Film • Productions & Events | By Vance
FUTURE SHORTS ONE NOVEMBER
Future Shorts ONE – connecting audiences across the globe in live simultaneous events. Connecting 12 countries and 50 cities in the world’s largest celebration of film and culture.
- Future Shorts
 Short attention spanners take note, Future Shorts, the largest short-film network in the world, is trying to bring its monthly series of cutting edge, bite-sized cinema to New York. Tonight’s program, which has already found audiences in Australia, Bulgaria, Vietnam, and Kazakhstan features Ramin Bahrani’s Plastic Bag, an examination of one bag’s existential journey, Daniel Wirtberg and Jonas Rudström’s music video for Miike Snow’s “Burial,” and Polish filmmaker Tomasz Wolski’s award-winning documentary The Lucky Ones, about the goings on in the Civil Registry Office of Krakow. Given its worldwide acceptance, we hope this series’ New York existence is also long-lived.  - Mindy Bond
NY TIMES: Blow Up “At a 60s Flick, Mod Reigns”
2010-07-20 | Posted in Buzz • Film • Productions & Events | By Vance
Congrats to everyone who helped make Blow Up a huge success!
July 1, 2010, 9:31 AM
Nocturnalist | At a ’60s Flick, Mod Reigns
By SARAH MASLIN NIR
Béatrice de Géa for The New York Times
It was a mod night when Future Cinema, an English company that screens films, celebrated its New York opening at the Shangri-La Studio on Sutton Street in Greenpoint, Brooklyn.
Up a candlelight-flickered staircase, through a darkroom cobwebbed with clotheslines bearing ruby-lit pictures, past a writer’s desk strewn with photographic proofs, guests at a film screening in Greenpoint, Brooklyn, stepped into the past on Wednesday night: a Swinging ’60s photo studio where a Britpop band rocked out while a gaggle of actors with Twiggyesque doe eyes struck poses in the center of the room, vying for their moment in front of a photographer’s lens.
It was the New York opening of Future Cinema, an English company that screens films, and it was held at at the Shangri-La Studio on Sutton Street. The film was “Blow-Up,” the 1966 film by Michelangelo Antonioni, set in London and starring an Austin Powers prototype — an ennui-ridden fashion photographer named Thomas (David Hemmings).
The intent was for guests to feel as if they were models at a casting. As the line to enter stretched down the sidewalk before doors opened at 8 p.m., guests said, a vintage British car pulled up, spilling forth a live-action “Thomas” followed by a cluster of screaming girls, who would later become the mod models in the photo-shoot-turned-party. [Read more...]
NY MAG Summer Guide: “Prince of the Pines”
| Posted in Buzz | By Vance
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From left: The Pines, 1976; The Pines, 2010.
(Photo: From left: Tom Bianchi; Ian Allen)
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Of the seventeen resort microclimates of Fire Island arranged along the picturesque, deer-overrun sandbar a short train-and-ferry commute from New York City, the Pines is easily the most fabled. Imagine, as many young men have, an entirely gay beach town full of contradictions—glamorous and skanky, bacchanalian and fussy, semi-nude and upmarket—a place where, as Andrew Holleran put it in his 1978 Gatsby-inspired gay novel Dancer From the Dance, “You may lose your heart. Or mind. Or reputation. Or contact lenses.”
Now imagine being 27 and owning the bars, restaurants, and the nightclub at the heart of it all. [Read more...]
And That’s What It’s All About.com
2010-04-03 | Posted in Buzz • Productions & Events | By Vance
Thank you About.com!
Vance Garrett
Meet the Black Party Director and Scenarist
By David Sokol, About.com Contributing Writer
“A shrine of pillar candles and pictures of lost revolutionaries sits in one corner of the room. The trail of roses leads the men upstairs into the big room. We discover an unfamiliar cavernous hall. Glimpses of bars, ropes, candles, and petals appear in the distance, but a scene at the very center of the room illuminates the whole space…For about one hour, we see one gorgeous, impeccably dressed man dancing the tango, alone. He uses prison bars as his partner…”
This is just one of the scenes in Vance Garrett’s remarkably thorough treatment for the Black Party. The 13-page document also describes walls plastered with revolutionary paraphernalia and ticked with the chalk marks of a prisoner tracking his cell time. And of nuns muttering a blessing to the Virgin Mary — probably begging her for forgiveness — as each Black Party attendant checks his belongings at the door.
Garrett has been working for The Saint at Large since 2005, with increasing responsibility for the look and feel of the Black Party. Today he is its director and scenarist — this year mixing Argentine culture, the political upheavals of the Infamous Decade, leather and bondage, and high camp into one coherent, stimulating, storytelling dance party. (Read more…)
Congrats to TBE’s Ben Hartley on ENRON!
2010-03-05 | Posted in Buzz | By Vance
Congratulations to THE BROADWAY EXPERIENCE’s BEN HARTLEY on being cast in ENRON!
From BroadwayWorld.com:
The upcoming Broadway production of Lucy Prebble‘s critically acclaimed play ENRON, directed by Rupert Goold, is proud to welcome actors Jordan Ballard (Hairspray), Brandon J. Dirden (Prelude to a Kiss), Anthony Holds (Spamalot, Pal Joey), Ty Jones (Judgment at Nuremberg, Henry IV, Julius Caesar), Tom Nelis (The Caine Mutiny Court Martial, Aida), Jeff Skowron (The Lion King, High Society), LUSIA STRUS (the upcoming untitled Gus Van Sant project), Ben Hartley (Swan Lake, The Little Mermaid) and Ellyn Marie Marsh to the company.
They join the previously announced Norbert Leo Butz, Gregory Itzin, Stephen Kunken, Marin Mazzie, Noah Weisberg, Rightor Doyle, Ian Kahn, Mary Stewart Sullivan, Madisyn Shipman, and January LaVoy.
ENRON will begin previews on Broadway on April 8, 2010 at The Broadhurst Theatre (235 W. 44th St. between 8th and Broadway), in preparation for an April 27, 2010 opening.
Tickets are currently on sale via Telecharge.com or by calling (212) 239-6200. The Broadhurst Theatre box office will officially open March 11th. (…)
Ben Hartley was first seen on Broadway in Matthew Bourne‘s Tony award winning Swan Lake followed by Fiddler on the Roof, Chitty Chitty Bang Bang, Disney’s The Little Mermaid & City Center Encores! staging of Follies. West End productions to include Cats, Fosse, Matthew Bourne‘s Cinderella & The Carman. He was part of The Most Happy Fella & Pirates of Penzance at NYCO & Hello, Dolly at The Papermill Playhouse. He was also a member of The Met Opera Ballet and English National Ballet. Modeling work has included companies such as Ericsson, Aveda & has been featured in New Yorker Magazine and American Vogue. Ben is the founder & director of The Broadway Experience musical theater program based in NYC for aspiring triple threat performers. tbenyc.com (Read more…)
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