Containment

Containment

Directors of the Extraordinary

Brisbane Powerhouse

October 18 – 29 2017

 

Reviewed by Xanthe Coward

 

…technology is an agent of change

Robert LePage

 

You have 60 minutes to save the world.

 

When a mysterious epidemic breaks out in Atlanta, an urban quarantine is enforced, leaving those inside to fight for their lives as local and federal officials search for a cure.

 

Sound familiar? Directors of the Extraordinary cite Contagion and Resident Evil as inspiration for the narrative of a new live action adventure game, however; the above blurb comes from the Netflix Original series, Containment. It wasn’t a big hit, but this Containment can be.

 

If the technology were to fail, this production would fail overall, but the tech component is its backbone and ultimately, the hero of the show. It’s sensational. It almost makes up for the fact that I was prepared to be terrified and wasn’t… While this is disappointing on one level, on another I felt relieved that there was nothing I couldn’t cope with. I think it’s common knowledge that I’m the audience member you don’t ask to participate, so even showing up to experience this event can be considered a win for me (and for their PR). I was resistant too, to the fact that we were required to complete a series of tasks and actually think our way through, rather than passively watch something being played out on stage. Even some of the most “immersive” theatre companies around the world are simply putting their audience in amongst the action, and not necessarily assigning them roles or tasks to complete within a time frame OR DIE. I had to surrender disbelief, give over to the competitiveness of the game, and work with Sam to reach the end.

 

 

The platform is the strongest element. Audience members are issued with an iPad per “team” (2-6 players – pre-register for the same session so you can play together). The challenge is issued via video and a purpose built app allows participants to input their results as they accomplish a series of tasks that, hopefully, will lead them to success, i.e. saving the world from zombiefication.

 

The live performances are the least impactful element, which is strange, but not when you realise that they’re all volunteers. We see six zombies wandering around the Visy theatre and another couple as we walk down the corridor backstage to the Turbine Studio space. We assume they’re doing what they’ve been told they need to do.

 

With a professional cast comprising more experienced actors and the skills to engage in extended interactions with audience members, we’d enjoy the experience so much more. I was pleased to hear that a number of punters have sat in the corner to engage in conversation, a character named Mango, as we did, and with more of that happening throughout the game, we’d be super impressed with the live performance element as well as with the technology.

 

While the space is cleverly utilised, sending us across three of the four levels of the Powerhouse, all zombies (or “survivors” – can we call them that?) are actually contained already within three secure areas, which feels like the risk is lower than the brief had indicated. A more satisfying experience would allow performers to roam over the entire Brisbane Powerhouse space – and not be confined to the Visy and its backstage area. I imagined there’d be zombies roaming around the building, around its outskirts as we arrived, or lurching at us from behind walls and around corners, and hauling their rotting bodies past restaurant windows, frightening wedding parties (there are always several at the Powerhouse on a Saturday) and the drinkers and diners who don’t always realise (or remember) that they’re at a performing arts venue. Impractical. Perhaps. Memorable? HELL YES.

 

 

In the end, it’s really the attitude that determines the overall quality of the experience. Attention to detail matters – if we’re prepared to suspend disbelief the experience will be exciting and at the conclusion, satisfying, having fulfilled the requirements of the tasks in the time allocated. We’re sucked into the competitiveness of the game – the exquisite pressure of a strict time limit (a timer in the top right hand corner of the iPad counting down for sixty minutes) and high stakes – that Dr Winton, and the staff and visitors to the facility will perish if we fail to formulate an antidote in time.

 

After being welcomed and asked to leave jackets and bags and keys in a box (potential for another sort of super interactive take-home show right there) we’re briefed by Ash, a co-collaborator and performer. We’re asked to step into Hazmat suits and take a team photo, and the scene is set. Dr Alice Winton instructs us via video to find the details required to gain the security clearance we’ll need to discover the correct formula for an antidote that will save the world from infection and subsequent zombie domination. Game on.

 

 

Containment is the ultimate group fun, in simplest terms for the sake of an explanation, it’s the new skirmish, but it’s far more sophisticated than that. In other versions we could probably get messy, but as it is, this production doesn’t ask audience members to be accosted by performers or fluids. A whole different suit would be required (you can take these suits home if you desire!).

 

Unsurprisingly, the corporate training experiences are the bread and butter of the suite of services offered by Directors of the Extraordinary, but it’s the theatrical experience that obviously excites Director, Simon. Originally introducing Escape Hunt Rooms to Brisbane, after seeing for themselves the success of similar interactive experiences in Tokyo, Los Angeles and New York City, the company now offers three unique experiences for groups, with more on the way. Simon tells us that his brother, the tech head of the business, is currently in Adelaide delivering an entirely immersive and interactive experience to one hundred pharmaceutical industry members. This requires them to complete research and data input tasks, and bid against one another in a virtual business world. Without limits on this sort of training and technology, not to mention live theatrical gaming experiences in the style of Containment, it will be exciting to see Directors of the Extraordinary step more fully into this space.

 

Directors of the Extraordinary wanted a live, immersive and interactive experience in which everyone was “kept in the world” for the duration and had a great time. The response from participants has been favourable so far. It’s exciting to see such a sophisticated first-time gig, with massive potential to tour and take over festivals and spaces all over the world, starting right here in our backyard, at our favourite versatile venue.