Count Dracula Awakens in Toronto in ‘The Eve of St. George’ (Q&A)

by Kathryn Yu
Kathryn Yu
•
January 10, 2019
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6 min read

An interview with immersive dance-theatre creator Julia Cratchley

Director, choreographer, and dancer Julia Cratchley of the Transcen|Dance Project is the creator of THE EVE OF ST. GEORGE, an immersive theatre show in Toronto inspired by Bram Stoker’s Dracula and other immersive productions like Sleep No More. This is the third time she’s staged THE EVE OF ST. GEORGE, a free-roaming sandbox experiences where masked patrons can follow characters and explore the multiple floors of a Gothic hall built in 1889.

We caught up with Julia over email to ask her questions about the show, dance, and, of course, the most famous vampire of all time.

This interview has been lightly edited for clarity.

No Proscenium: Can you tell us a little about yourself and your background in the immersive arts?

Julia Cratchley: I was trained as a contemporary dancer, at Arts Umbrella’s graduate program in Vancouver. I was interested in trying to get general public involved and interested in contemporary work, and this is one of the things that pulled me into immersive work.

In 2012, I started my research to create my own immersive show. I did workshops, saw as much as I could, talked to anyone who was willing to help and then created my first show in 2015.

It was a scary venture on many levels, but the fact I was coming from a dance background and not a theatre background was one of the scariest of them all. I had to trust the fact my story telling skills have always been a strong point and I have a good intuition. Besides that, I learnt as I went, and pulled from peers who were strong in areas I wasn’t and we made it all happen.

NP: What, in a nutshell, is this project about?

JC: EVE OF ST. GEORGE, an immersive dance production. Equal parts unnerving and seductive, EVE OF ST. GEORGE is a voyeuristic and immersive recreation of Bram Stoker’s chilling tale of Dracula, scored by award-winning Canadian composer Owen Belton.

Upon arrival, guests receive a mask and are set free to roam the four levels of The Great Hall, re-imagined as a gothic Victorian setting for the stories of 16 characters — both choreographed and improvised — to unfold. Each guest decides their own path for the evening, by choosing to follow a character, riffling through their personal effects as they travel through the building, or remaining in one room to watch what unfolds — and perhaps even interacting with a character.

NP: Why did you create this experience? What inspired you?

JC: I always wanted to create my own work and have my own company, but there was something holding me back from creating a concert show (which is where my main background lies). When I was first introduced to immersive work, I was incredibly inspired and it made me realize this was the missing piece for me. There was something about having your audience in such close quarters and really involving them in an experience that made me excited!

Sleep No More was a massive inspiration for me. The first time seeing that show, I just couldn’t understand how it all worked and how someone could create something like that. This also lit a fire within me. I thought how cool it would be to have work like this in Toronto. After seeing it again, I came to the conclusion that if no one else was making it here, I was going to. A bold choice, but I knew the city was ready for something this exciting.

NP: What’s surprised you the most during the process of making this experience?

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JC: How incredibly challenging it is to create and put together! That sounds obvious, but when you are working with a large cast and multiple floors, its like creating a spider web. Figuring out timing, and what can be running simultaneously is incredibly complicated. At the same time, also incredibly satisfying to know your brain figured it out.

NP: How is the audience incorporated into the work? How are you designing around audience agency, consent, and safety?

JC: The audience at entrance receives an invitation which — at the start of the show — splits them into three different areas. After that initial split, the guests are allowed to roam freely through the four floors of our building. We have ushers stationed and roaming through the show to ensure guests stay safe through scenes. Guests are told at the beginning of the show that the ushers are there for them if they need help or ever feel uneasy.

Consent continues to be a conversation we have year after year, which I think being an immersive show is a great thing to be on top of. We work heavily with our artists making sure that one-on-ones or any interaction that happens within the show always comes from an offer, and it is the audience’s choice to partake. We work with what kind of touch is suitable to use if having to move through a crowd or if you are moving someone from one place to the next. The MC also makes mention at the top of show that you welcome to step away from anything that is being offered. This year, we are also sending out an email to guests prior to show that will outline all of this as well, so they are prepared and well-informed before even stepping into the building.

NP: How has the show evolved over time as you’ve been able to remount it?

JC: It has been incredible to be able to remount this a few times now. The first time we put this show on in 2015, a lot of it was an experiment. There was also just so much material to create, that I felt like once a scene was created we moved onto the next thing. The biggest things I have felt change over time is the finesse of each scene and the character development. We have been able to go back and look at everything, make changes so that the character tracks really make sense. This for me has been the most satisfying, knowing that every detail gets looked at. The show size-wise has evolved as well. The space becomes more dressed each time, our team has become bigger our audience has become bigger and we have created longer runs each time. All great things!

NP: What’s the audience response been like so far?

JC: I have honestly been so overwhelmed with the response! Last year especially. Our last shows sold out in the span of 18 hours! Having a room full of strangers leave all talking about their individual experiences and being excited about it is the coolest thing ever for a creator. We have been thrilled to bring this kind of experience to Toronto for people to enjoy and hope to continue to.

NP: Who is the ideal audience member for this show?

JC: It being a show that has multiple levels and is in quite a large space, it’s not overly kind to individuals who find walking and stairs difficult (although is possible, we have had elderly guests as well as someone on crutches attend) Besides that I think it is ideal for an adventurer! Someone who embraces new and different experiences. Dracula is a story many know, and involves a magnitude of layers that people can relate to and enjoy.

NP: What do you hope participants take away from the experience?

JC: Exactly that, an experience. My personal immersive experiences have always left me with incredible memories and moments that I will take with me forever and I hope people take the same away from our show.

I want to introduce dance and theatre to people who may have never thought they were interested, and leave them with some incredible sensory moments they can talk about for years to come.