Lady macbeth sleep no more5/30/2023 ![]() ![]() So again, Bea, with her team of volunteers sparked that process-I’m not sure exactly how long it took. How long did it take to make all that, and who did it?ĭOYLE: Beatrice Minns, her brilliance is in the details, and in our work, the devil is in the details. SYMONDS: It seemed like a lot of it was created from scratch, too-the volumes and volumes of loose papers that are on desks, and things like that that are very specific to the show. ![]() ![]() So, all of the stuff for this show-some of it we kept from Boston, we shipped over from Boston, but lots of the bits of the detail and the furniture was from New York and upstate. Part of their job in the States, in New York, was actually to go shopping, kind of far afield, to all those amazing fairs that there are in the States. There’s that team, and then there’s a whole group of volunteer designers. SYMONDS: In terms of the production design, where was everything sourced? Have you started anew with each new space, or have you taken a lot of stuff with you?ĭOYLE: We have Felix, and then there’s two other designers, Beatrice Minns and Livi Vaughan, they’re associate designers. I worked very closely with the performers and the cast, to create this kind of athletic and sometimes extreme, sometimes really emotionally driven choreography. MAXINE DOYLE: I started working with the company eight years ago, when Felix was looking for a choreographer … we started to bring a real sort of physical, visual, performance language, to take the characters and the structures and the relationships and situations of Macbeth and create a physical language for that, which works very much in collaboration with the space and the design. What would you say your main role has been? Doyle’s keeping busy-Punchdrunk is opening a show for children at the Manchester International Festival at the end of July, and another show for adults in London later on-but she found time to chat from home in the UK.ĪLEXANDRIA SYMONDS: Sleep No More is such a completely different experience than any other theater I’ve seen in New York. The choreography is the work of Maxine Doyle, who with Felix Barrett directed the show, which took up residence in the McKittrick after a successful run in Brookline, Massachusetts. Audiences are encouraged to rifle through drawers, open cabinets, and fully immerse themselves in the reality of the show-and to follow the performers, who act out themes and scenes from the play in balletic, intensely physical style. It’s a site-specific interpretation of Macbeth (with some Hitchcock Rebecca thrown in for good measure) that fills every nook and cranny of the hotel’s six stories with evocative, intricately detailed sets-a mental ward, a cemetery, a ’30s-style hotel, that fateful banquet hall. Sleep No More, a production of the Emursive and Punchdrunk theater companies, is a dramatic experience unlike any other in the city. The McKittrick is a beautiful, haunting space and it’s perfect for the project that’s reopened it, 72 years later. Completed in 1939 and designed to be the most luxurious hotel in New York, it was condemned and shuttered two days after the beginning of World War II. Tucked deep into an unremarkable block on West 27th Street sits the McKittrick Hotel. A SCENE FROM SLEEP NO MORE (THOSE IN MASKS ARE THE AUDIENCE MEMBERS). ![]()
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