
I tried NYC's new barefoot immersive theater show 'Viola's Room,' and it was unsettlingly awesome
Led by light and sound, I felt my way through a labyrinthine installation as this gothic tale unfolded before my very eyes—except, of course, for the pitch darkness. Over the course of an hour at The Shed in Hudson Yards, our small group learned the story of Viola through over-ear headphone narration, which is based on the short story "The Moon-Slave" by Barry Pain. Writer Daisy Johnson adapted this short story into a thrilling and surprising adventure with themes of innocence and obsession—and did so without a single actor in the room.
The experience began with my designated group of six strangers inside a dimly lit room. Before you make it to Viola's Room, make sure to arrive at The Shed at least 20 minutes before the allotted time, as this experience operates on a shift schedule; one group cannot begin until another ends. Not only that, but there is no late entry allowed—Viola has many guests!
Once inside, a member of Punchdrunk's team explained the performance and how to best enjoy the experience. The lingering feeling of fear and anticipation were heavy in the moments before I entered and took a seat in a flimsy wooden chair beneath a dim lightbulb. I even witnessed a number of people having second thoughts about whether they could endure the experience. These same emotions were very present in Viola's own story, and Punchdrunk goes to great lengths to provide that layer to the production as well.
"It's the most intimate and distilled form of a Punchdrunk experience we've created: an invitation to step inside a teenage daydream and surrender to the unknown," Barrett said in a statement. "In a non-stop world of screens and tech this is an invitation to succumb to a live, tactile and fully sensory journey."
To add another layer, scent is also incorporated into this production. I noticed hints of floral and woodsy aromas, as well as the blanketing scent of a freshly cooked feast. That's about the closest you'll be getting to taste, I'm afraid, as the only food in Viola's Room is plastic and definitely not edible.
Be prepared for haze, flashing lights, loud recorded sound, and moments of darkness, as well as very narrow spaces—some of which require audiences to crouch, crawl or bend over to pass through. Wearing comfortable and loose clothing is recommended. Cameras and mobile devices are not allowed. There is a complimentary bag check at the Mezzanine level of The Shed to store personal belongings, as well as labeled boxes to house any on-person items and shoes before entering the space. Sanitizer is provided for feet as this must be experienced barefoot (so make sure to trim your toenails before attending, too, especially if you're bringing a date).
General admission tickets start at $49. Shows run Tuesday–Sunday until Oct. 19. As Viola's Room operates in groups of six, there are also private bookings available. Groups smaller than six are not guaranteed to experience the show together, so be prepared for that. While you're at The Shed, also check out some art at the free Open Call: Portals exhibition through August 24.

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Time Out
2 days ago
- Time Out
I tried NYC's new barefoot immersive theater show 'Viola's Room,' and it was unsettlingly awesome
As an audience member and a mercifully no-longer actor, I've been asked to do a lot of things in a theatre space. But something I was not expecting while attending Punchdrunk's newest immersive theater creation, Viola's Room, was being asked to remove my shoes and socks and sanitize my feet before seeing the show. The titular room, equipped with six beds, is merely the starting point for this sensory journey directed by Felix Barrett, of Sleep No More fame. Led by light and sound, I felt my way through a labyrinthine installation as this gothic tale unfolded before my very eyes—except, of course, for the pitch darkness. Over the course of an hour at The Shed in Hudson Yards, our small group learned the story of Viola through over-ear headphone narration, which is based on the short story "The Moon-Slave" by Barry Pain. Writer Daisy Johnson adapted this short story into a thrilling and surprising adventure with themes of innocence and obsession—and did so without a single actor in the room. The experience began with my designated group of six strangers inside a dimly lit room. Before you make it to Viola's Room, make sure to arrive at The Shed at least 20 minutes before the allotted time, as this experience operates on a shift schedule; one group cannot begin until another ends. Not only that, but there is no late entry allowed—Viola has many guests! Once inside, a member of Punchdrunk's team explained the performance and how to best enjoy the experience. The lingering feeling of fear and anticipation were heavy in the moments before I entered and took a seat in a flimsy wooden chair beneath a dim lightbulb. I even witnessed a number of people having second thoughts about whether they could endure the experience. These same emotions were very present in Viola's own story, and Punchdrunk goes to great lengths to provide that layer to the production as well. "It's the most intimate and distilled form of a Punchdrunk experience we've created: an invitation to step inside a teenage daydream and surrender to the unknown," Barrett said in a statement. "In a non-stop world of screens and tech this is an invitation to succumb to a live, tactile and fully sensory journey." To add another layer, scent is also incorporated into this production. I noticed hints of floral and woodsy aromas, as well as the blanketing scent of a freshly cooked feast. That's about the closest you'll be getting to taste, I'm afraid, as the only food in Viola's Room is plastic and definitely not edible. Be prepared for haze, flashing lights, loud recorded sound, and moments of darkness, as well as very narrow spaces—some of which require audiences to crouch, crawl or bend over to pass through. Wearing comfortable and loose clothing is recommended. Cameras and mobile devices are not allowed. There is a complimentary bag check at the Mezzanine level of The Shed to store personal belongings, as well as labeled boxes to house any on-person items and shoes before entering the space. Sanitizer is provided for feet as this must be experienced barefoot (so make sure to trim your toenails before attending, too, especially if you're bringing a date). General admission tickets start at $49. Shows run Tuesday–Sunday until Oct. 19. As Viola's Room operates in groups of six, there are also private bookings available. Groups smaller than six are not guaranteed to experience the show together, so be prepared for that. While you're at The Shed, also check out some art at the free Open Call: Portals exhibition through August 24.


The Independent
4 days ago
- The Independent
A new law in Benin grants citizenship to slave descendants. Ciara is among the first
U.S. singer Ciara is one of the first public figures to become a citizen of Benin under a recent law by the small West African country granting citizenship to descendants of slaves. The Grammy-winning performer's acquisition of citizenship at a ceremony Saturday in the city of Cotonou is part of a broader initiative by Benin to attract the Black diaspora, acknowledge the country's role in the transatlantic slave trade, and promote tourism focused on slavery-related sites of remembrance. 'By legally recognizing these children of Africa, Benin is healing a historical wound. It is an act of justice, but also one of belonging and hope,' Justice Minister Yvon Détchénou said at the ceremony. Here's what to know about Benin's efforts to welcome slave descendants: Benin's afro-descendant citizenship law In September, Benin passed a law granting citizenship to those who can trace their lineage to the slave trade. It is open to anyone above 18 who doesn't already hold other African citizenship and can provide proof that an ancestor was deported via the slave trade from anywhere in sub-Saharan Africa. Beninese authorities accept DNA tests, authenticated testimonies and family records. Last week, the government launched My Afro Origins, the digital platform that processes applications. While Benin is not the first country to grant citizenship to descendants of slaves, its citizenship law carries added significance, in part because of the role it played in the transatlantic slave trade. A national reckoning with its role in the slave trade. European merchants deported an estimated 1.5 million enslaved people from the Bight of Benin — a region that includes present-day Benin, Togo and parts of Nigeria — to the Americas. Beninese kings actively participated in capturing and selling slaves to Portuguese, French, and British merchants. The former kingdoms and the communities they raided still exist today as tribal networks. Benin has long been working to reconcile with its legacy of complicity. It has openly acknowledged its role in the slave trade, a stance not shared by many other African nations that participated. In the 1990s, it hosted an international conference to examine how and where slaves were sold. In 1999, then-President Mathieu Kérékou apologized to African Americans during a visit to a church in Baltimore. 'Memorial tourism' Alongside this national reckoning, 'memorial tourism' around the legacy of the slave trade has become a key approach of Benin's government to attract afro-descendants. Memorial sites are mostly in Ouidah, one of Africa's most active slave-trading ports in the 18th and 19th centuries. They include the Slave Route, which was the path marking slaves' final journey to ships, and the Door of No Return, a haunting doorway that opens to the Atlantic Ocean where they left Africa, and their families, for the last time. Sindé Chekete, the head of Benin's state-run tourism agency, said these sites give afro-descendants the opportunity to learn about and honor the struggles and resilience of their ancestors. 'It may inspire some people to say 'I want to return to Africa and choose Benin to understand this history'," Chekete said. Following her citizenship ceremony, Ciara toured the historic city, where she walked the Slave Route to the Door of No Return. 'Between emotion, reflection, and heritage, I experienced a profound return to what truly matters,' she said.


Daily Mail
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