The company developed a form of immersive theatre in which no audience member will have the same experience as another. The audience is free to choose what to watch and where to go.[2][3][4] The format is related to promenade theatre, but uses audience immersion more extensively.[5][4] The company has been recognized for its unique uses of sound, light, movement and environment. In 2015, Punchdrunk formed a new company, Punchdrunk International, which produces a selection of Punchdrunk's commercial productions for national and international audiences.
In a typical Punchdrunk production, audience members are free to roam the performance site, which can be as large as a five-story industrial warehouse. They can either follow the performers and themes (there are usually multiple threads at any instant), or simply explore the world of the performance, treating the production as a large art installation.[citation needed]
Masks are another signature element of Punchdrunk's work. Barret says when the company "...introduced masks, suddenly inhibition fell away and people found a sense of freedom in their anonymity, allowing them to fully explore their surroundings and become totally absorbed in the world around them."[7]
In 2008, Punchdrunk founded a new branch of the company focused on outreach to communities and schools called Punchdrunk Enrichment. Punchdrunk Enrichment projects are mostly aimed at children and young people.
Projects from Punchdrunk Enrichment include:
Under the Eiderdown (2009 - 2014), a theatrical experience in which school pupils are invited to visit a magical bric-a-brac shop, encouraging them to show an interest in creative writing.[8]
Against Captain's Orders: A Journey into the Uncharted (2015), an immersive exhibition for children at the National Maritime Museum in London.[9]
Greenhive Green (2016), a project for Greenhive Care Home residents, including those with dementia, in partnership with Magic Me .[10]
Small Wonders (2018 & 2019), a magical, interactive experience for children aged 5–11 years old and their families[11] at Bernie Grant Arts Centre, Tottenham and Edinburgh International Children's Festival.
Punchdrunk International
In 2015, Punchdrunk founded a new production company, Punchdrunk International. Felix Barrett serves as the Artistic Director of Punchdrunk International. Company members include Creative Producer Colin Nightingale, Creative Director Stephen Dobbie and Design Director Livi Vaughan.
The company has also collaborated with selected organisations, including a long term creative partnership with Samsung North America. Projects made in collaboration with the company include Believe Your Eyes, a VR experience for Cannes Lions Festival, 2016. The experience has since travelled to Art Basel Miami, Samsung 837 in New York and Phi Centre, Montreal. Believe Your Eyes was awarded a Silver Lion in the Entertainment category at Cannes 2017.
Fallow Cross
In 2017, Punchdrunk opened Fallow Cross,[12] a research and development space in Tottenham Hale.
The Moonslave (2000), an experience that saw single audience members taken to an old mansion house by a masked chauffeur, following candlelit paths through a dense forest where the story unraveled.[14]
The Tempest (2003), an adaptation of the play by Shakespeare, again performed at the Old Seagar Distillery, using its five floors to create a dark vision of Prospero's island.[16]
Sleep No More (2003); see below for the 2009 and 2011 reinventions. An adaptation of Shakespeare's Macbeth in the style of a Hitchcock thriller, using reworked music from the soundtrack of classic Hitchcock films. Staged at the Beaufoy Building in London, an old Victorian school.[17]
Faust (10 October 2006 until 31 March 2007), an adaptation of Goethe's Faust Part One, relocated to a small town in the 1950s Midwest. Staged across 150,000 sq ft (14,000 m2) of a derelict 5-storey archive building at 21 Wapping Lane in the London neighbourhood of Wapping.[21][22] The production, which was presented by Punchdrunk and the National Theatre, earned the company a nomination for the Evening Standard Theatre Award for Most Promising Newcomer and won the 2006 Critics' Circle Theatre Award for Best Designer.[23]
The Masque of the Red Death (play) (2007–8), a co-production with Battersea Arts Centre (BAC). An adaptation of stories by Edgar Allan Poe including "The Masque of the Red Death". Performed at the BAC from 5 October 2007 until 12 April 2008.[24] While each performance culminated in a ball scene, Friday and Saturday night performances were followed by Red Death Lates, an elaborate after-party with interactive performance, celebrity guests, live bands and cabaret.[25]
Tunnel 228 (2009), a collaboration with the Old Vic theatre, in the abandoned tunnels beneath London's Waterloo station.[26]
Believe Your Eyes, a 2016 VR experience commissioned by Samsung for the Cannes Lions International Festival of Creativity. Believe Your Eyes was awarded a Silver Lion in the Entertainment category at Cannes 2017.[40]
The Guilty Party, a 2017 interactive experience commissioned by Turner Broadcasting System (TBS) and Civic Entertainment Group, USA for the launch of season two of Search Party.[41]
The Third Day is a co-production between Sky Studios and HBO, in partnership with Plan B Entertainment, writer Dennis Kelly and Punchdrunk International. The six-part, one-hour episode limited series stars Jude Law as Sam,[42] who after being drawn to a mysterious Island off the British Coast, is thrown into the unusual world of its secretive inhabitants.
The Burnt City is a production based around the fall of Troy, performed in Woolwich's Royal Arsenal, London in 2022.[43]
The Punchdrunk Encyclopaedia
The Punchdrunk Encyclopaedia was published by Routledge in 2019, edited by the theatre scholar Josephine Machon.[44] Development of the book began in 2014, after Machon interviewed Felix Barrett for a book on British theatre companies.[45] Machon interviewed further members of Punchdrunk and visited Barrett's parents' home.[45]
The book is structured as an encyclopaedia to allow non-linear exploration of its contents, mirroring Punchdrunk's non-linear performances.[45] It was reviewed by The Times Literary Supplement,[44] and nominated for the Theatre Book Prize in 2020.[46]
