Can Ian McKellen, 52 cameras, and 'mixed reality' reinvent a medium? The answer lies in the captivating world of An Ark, a groundbreaking play that pushes the boundaries of theater. Imagine sitting in a circle at the Shed, a cultural hub in Manhattan's futuristic Hudson Yards, as the show begins. Through your enhanced glasses, you witness a mesmerizing spectacle: four empty chairs facing you, just out of reach. You observe strangers eagerly awaiting the actors' arrival. When they finally appear, one by one, a sense of unease washes over you. Each actor locks eyes with you, specifically. 'Don't panic,' reassures the esteemed British actor Ian McKellen, as the actors take their seats. But these actors aren't physically present; they're in video form, a nearly opaque specter overlaid on the theater's vibrant red carpeting and crisp white walls. This innovative play, written primarily in the second person by Simon Stephens, blends physical and digital elements, creating a unique 'mixed reality' experience. Over 47 minutes, the actors address you directly, maintaining steady eye contact. The show's producer, Todd Eckert, emphasizes the distinction between mixed reality and VR. While VR immerses you fully in a digital world, mixed reality combines physical and digital elements, creating a sense of connection. This technology is already familiar, from first-down markers in football broadcasts to translucent dashboards in cars. However, its use in theater is relatively new, with volumetric capture struggling to capture subtle details. Eckert and his company, Tin Drum, have been pioneers in this field. They produced 'The Life,' featuring a hologram of renowned performance artist Marina Abramović, and a virtual, 3D concert with composer Ryuichi Sakamoto. 'An Ark' takes this technology further, presenting four actors simultaneously, filmed by 52 cameras in one take, creating a private show-like experience. The concept emerged from conversations between Stephens and Eckert, exploring the possibilities beyond traditional theater. Director Sarah Frankcom, initially skeptical of the technical elements, found freedom in the volumetric video system's limitations. The staging is minimal, with actors primarily seated in chairs, maintaining steady eye contact throughout the show. This direct connection creates an uncanny effect, blurring the lines between reality and illusion. Despite some technical limitations, the show's potential for intimacy and accessibility in theater is undeniable. It offers a unique blend of technology and human connection, preserving the work of great actors like McKellen with vitality and immediacy. As the show concludes, viewers are left with a profound sense of shared experience, fostering connections that extend beyond the theater. An Ark, running at the Shed in New York until March 1st, is a testament to the power of mixed reality in theater, challenging our perceptions and redefining the medium.
