![]() ![]() I thought how cool it would be to have work like this in Toronto. The first time seeing that show, I just couldn’t understand how it all worked and how someone could create something like that. Sleep No More was a massive inspiration for me. There was something about having your audience in such close quarters and really involving them in an experience that made me excited! When I was first introduced to immersive work, I was incredibly inspired and it made me realize this was the missing piece for me. JC: I always wanted to create my own work and have my own company, but there was something holding me back from creating a concert show (which is where my main background lies). NP: Why did you create this experience? What inspired you? Each guest decides their own path for the evening, by choosing to follow a character, riffling through their personal effects as they travel through the building, or remaining in one room to watch what unfolds - and perhaps even interacting with a character. Upon arrival, guests receive a mask and are set free to roam the four levels of The Great Hall, re-imagined as a gothic Victorian setting for the stories of 16 characters - both choreographed and improvised - to unfold. GEORGE is a voyeuristic and immersive recreation of Bram Stoker’s chilling tale of Dracula, scored by award-winning Canadian composer Owen Belton. Equal parts unnerving and seductive, EVE OF ST. NP: What, in a nutshell, is this project about? Besides that, I learnt as I went, and pulled from peers who were strong in areas I wasn’t and we made it all happen. I had to trust the fact my story telling skills have always been a strong point and I have a good intuition. It was a scary venture on many levels, but the fact I was coming from a dance background and not a theatre background was one of the scariest of them all. I did workshops, saw as much as I could, talked to anyone who was willing to help and then created my first show in 2015. In 2012, I started my research to create my own immersive show. I was interested in trying to get general public involved and interested in contemporary work, and this is one of the things that pulled me into immersive work. Julia Cratchley: I was trained as a contemporary dancer, at Arts Umbrella’s graduate program in Vancouver. No Proscenium: Can you tell us a little about yourself and your background in the immersive arts?
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