Chicago is Ready to Be Immersed

On a recent trip to New York City this summer, I was lucky (or, depending on how you look at it, loony) enough to take in eleven shows in six days. While I enjoyed nearly all eleven, there were two that truly stood out to me: the Off-Broadway offerings "Here Lies Love" and "Natasha, Pierre & the Great Comet of 1812."

Perhaps one reason they stood apart from the others is both shows fall within the new trend of "immersive" theatre, or theatre in which the audience is, in some way, in the middle of the action as opposed to sitting in traditional seating. I left both so theatrically fulfilled, and began to think of all the people back home in Chicago I wish were able to experience these shows, when I was struck with an overwhelming feeling that both "Here Lies Love" and "Natasha" would make perfect additions to the Chicago theatre scene.

Chicago theatre audiences embrace theatre of all kinds and "Natasha" and "Here Lies Love" have something we Chicagoans are particularly fond of: theatre that dabbles in the experimental, yet is still accessible.

"Here Lies Love," which ended its hugely successful run at The Public Theatre (during which it was awarded with four extensions) at the end of July, has audiences standing and dancing among the actors throughout the show. With small stages on either side of the room, as well as catwalks and a moveable stage in the middle, "Here Lies Love" takes audiences through the rise of fall the Philippines' Imelda Marcos. With a disco-infused score by Talking Heads' David Byrne and DJ Fatboy Slim, the audience is transported into a night club atmosphere, even being taught a few dance steps, encouraged to sing along, and occasionally shaking hands with the Marcos' as they petition for votes.

Similarly successful, after a sold out run at Ars Nova, "Natasha, Pierre & the Great Comet of 1812" has remounted in a performance tent erected specifically for the show. Entering the space, however, audiences will find it hard-pressed to believe they are inside the big, white tent they just stepped into. The steam-punk reminiscent design creates an atmosphere that immediately transports audiences into the moody and romantic world of "Natasha." Audiences are seated at tables of varying sizes (and on varying levels) where they are able to order food and drinks before the show starts or simply eat the meal included in the ticket price. The actors use every bit of the tent (including, occasionally, your table) as their playing space. Based off of "War and Peace" and sung-through to a gorgeous folk-inspired score, the musical tells the story of Natasha, at home in Russia while her fiancé is off fighting a war, as she is seduced by the handsome Anatole. The brilliant staging ensures that, no matter where you are seated, there is likely to be an actor or musician near you to watch.

With "Here Lies Love" already closed and "Natasha" soon approaching its September 2nd closing date, the producers of both shows are looking for spaces to remount each show. It's been reported that both sets of producers have been searching for Broadway houses to call home, although factors such as the removal of seats, to accommodate the shows' unique staging, may complicate such a transfer. So, I make my plea to both shows' producers: Consider Chicago as a place for these shows to call home!

Chicago has already proven that audience-interactive shows are warmly embraced. Perhaps most notably is Chicago's production of "Blue Man Group," the longest running show in Chicago, having played for 16 years and without a closing date in sight. Only revamping the show a few times throughout its run, "Blue Man Group" has created its own niche in the Chicago theatre scene of a non-traditional night of theatre that is a draw for tourists and locals alike.

Similarly, when "Fuerza Bruta," the dynamic show that has audiences dancing for 65 minutes, rolled into town on its national tour in 2010, it created an exceptional buzz (much of which centered around the excitement that there was nothing else like it playing in Chicago), receiving an extension. While I missed it when it was in town, I knew many people who were going back multiple times.

Even theatre companies such as Lookingglass and The House Theatre that are able to reconfigure the placement of their audience for each show have dabbled in theatre with non-traditional proscenium staging. For example, in Lookingglass' "Eastland" (in 2012), audiences were seated in benches as if aboard the ship the characters were also on. This non-traditional seating is a way to more fully invite audiences into the world of the play and Chicago has proved we are more than willing to play along.

Not to say that Chicago doesn't love and support both traditional shows as well as fully experimental theatre. On the contrary: You can find everything from classic plays to full-fledge performance art pieces gracing Chicago stages with full audiences. However, both ends of this spectrum often draw one crowd or the other and there are few shows that draw in, and fully satisfy, all. Both "Here Lies Love" and "Natasha" would do just that. Each show relies on the traditional storytelling structure of musical theatre, but puts both their actors and audiences in new, exciting spaces, striking a perfect balance for both fans of more traditional theatre pieces and those drawn to theatre that push the boundaries of what can be done onstage. It is easy to imagine either show becoming the hot ticket, fitting that niche that "Blue Man Group" found, drawing tourists as well as locals looking for a night out on the town (particularly "Natasha" as it is a one-stop shop for dinner and a show).

It is important to note that I entered both shows a little wary of being so integrated with the action. There is the common fear of the moment one is taking in a show and, suddenly, the house lights are raised and actors onstage start looking into the audience for a "volunteer." However, the difference between an experience such as that and the experiences "Here Lies Love" and "Natasha" creates is that you feel included into the show's world from the beginning, yet there is never the sense that you, as an audience member, are crucial to the process of the show. It will go on with or without you, but you find that it may be more fun if you are a part of it. I, to my surprise, actually found myself jealous of the patrons at the table where Natasha sits down for a brief moment. And, during "Here Lies Love" those who are letting themselves get swept up in the club-like atmosphere look like they are having so much fun, you want to join yourself. No one will call you out for not joining in, but the creators of the show have designed such a comfortable and all-inclusive space that you lose your self-consciousness and have no problem giving yourself over to the moment.

Oh, and did I mention what wonderful, moving pieces of theatre "Here Lies Love" and "Natasha" are? While their unique staging is absolutely important to the telling of each piece, I can, happily, report that both shows are not at all reliant on this aspect as their main appeal. The beauty of each piece, alone, is enough reason to hope one or both of these shows find a home in Chicago.

When Chicago is passionate about a piece of theatre, we are truly passionate. If there is a good show, whether it be in a tiny storefront or in one of the big Broadway in Chicago houses, we show up and we show up in droves. Because they appeal both to the masses as well as usual theatre-goers through their offering of new theatrical experiences for Chicago audiences, while still providing musicals that are more accessible than some more extreme experimental theatre in the city, "Here Lies Love" and "Natasha" seem primed for sure-fire success in Chicago.

And, so, I make my final plea to the producers of "Here Lies Love" and the producers of "Natasha" and ask again for them to consider Chicago as a place to set up tent (literally, in the case of "Natasha"). If our theatre-going past is any indication, Chicago will not disappoint.

Photo Credits: Chad Batka and Sara Krulwich/The New York Times

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