Strange Bird Immersive has been lucky in our press. We recently had the immense pleasure of hosting Room Escape Artist, and we’ve even lured Houston’s local theatre critics to come out and PLAY a play, you know, instead of just sitting there.
Read the reviews…
Room Escape Artist: “an experience that realized what I’ve hoped to see from the escape room medium.”
Partly Wicked: “the single most memorable escape room I have ever seen.”
Houston Press: “superbly unique… meticulously conceived.”
Houston Theatre Awards 2017: Winner of Best Risk
THE CRITIC IS COMING…
Hosting critics in an immersive is radically unlike hosting critics in traditional theatre. Here are some tips I’ve learned along the way on how to make the most of it.
Schedule wisely. If you’re in an ongoing production, give your show at least 2 months for testing and iteration, so it can settle into its best form before the critic comes. This is true for immersives, but it’s especially true for escape rooms. The show we ran in January is not the show we have now: the puzzles are smoother, the tech is debugged, the actors can handle every interaction. Be patient, and it’ll pay off. If you’re running a short-lived show, try to dissuade critics from opening night/weekend, at least.
Clean. Your critic will be inside the world and potentially free to explore. You do not want to be called out for dust bunnies.
No last-minute changes. As we’ve learned the hard way, a very small change can create new bugs, new audience behaviors you didn’t anticipate. We always try to run a mock-show in real-time whenever we make any technical changes, but physical changes can only be tested with fresh, new minds—a lot of them. What may look like an innocent dogtag to you may be somebody else’s slotted screwdriver.
You may want to perfect things for a critic, but don’t do it the day before, or even a week before. You want to deliver a vetted show.
Conquer self-consciousness. Actors get pretty revved up (usually for the worse) when they know a critic is in the house, but they never have to face that stone-cold gaze. Here? Neither of you gets to stay anonymous. That’s scary. A theatre critic is likely to freak, too, because they’re used to the armor that anonymity gives them.
Immersive work is intimate, it’s close-up, it’s scary. There’s no place for them to hide what they’re thinking: the actor will see it on their very faces. Be ready for both parties to feel even more self-conscious than usual. Hopefully your immersive is already designed to limit feelings of self-consciousness, but be ready to conquer this demon more than usual. Don’t give the critic any more attention than anyone else present. Your Meisner gut may even tell you to back-off from them.
No “red carpet” treatment. You want to be on your A-game, but you don’t want to be on your “suck-up” game. They will notice. The critic is here to experience the same show the public would experience. Otherwise, what use is their review? If you have any special moments or one-on-ones, don’t default to selecting the critic unless you’ve received the usual positive signals from them that you always look for when singling out audience members. Bad one-on-one selections lead to bad one-on-ones, period.
Be professional. Take criticism graciously. Take praise graciously. To be reviewed at all is a privilege not every artist gets. Because of the intimacy, you may feel like you have a relationship now. You don’t. If the critic wants to be friendly afterwards, follow their lead—don’t be the initiator in the relationship. A lot of critics prefer to duck out and never see you again, even if they loved it.
Everyone’s a critic. The only publicity in this business that’s worthwhile is word of mouth. Every guest who crosses your threshold could potentially rave (or rant) to their friends—or on Facebook, Twitter, Yelp, or TripAdvisor. Every guest is someone worth winning, so make the most of every show and make the red carpet standard.
