Whisperlodge co-creator Melinda Lauw is the creative force behind a gentle, cushiony wave that has created eddies in the immersive realm. In contrast to the bombastic spectacle of large scale productions, or the physically intense rigors of extreme horror experiences, Lauw’s work involves a kind of focus on the simplicity of the senses that can be as intense as anything else out there.
After recently relocating from New York City to San Francisco, Lauw has found herself working with local production companies Epic Immersive, We Players and Lava Saga, in varying capacities. This all while she’s still running Whisperlodge.
Next month Lauw has two productions, as Whisperlodge returns to NYC (April 4–8) and Lava Saga debuts Second Chance in SF (April 20–22)
This interview has been edited for clarity.
No Proscenium: What does “immersive” mean to you?
Melinda Lauw: This question is so daunting. I think the definition of “immersive” changes all the time and I personally have not come to a convincing conclusion. My present understanding is that “immersive” indicates a complete absorption and holding of attention. An “immersive” experience is embodied; experienced physical, psychologically, and sensorially. It is also able to take over your attention, leaving little room for your thoughts to wander off.
I get a distinctive kick from immersive experiences that have been able to do that. As a creator, going to immersive shows is like doing research. As I go through a show, I’m also analyzing the set design and performance flow, discovering tricks and techniques from my peers. When a show is able to fully consume me, I unknowingly find myself throwing all of that rational thinking aside, and in those moments, I am truly able to enjoy the experience, in and of itself. Whether or not I achieve this state depends on so many factors. It’s not something I can distill into a list yet. For me, it’s holistic — the ambience, the vibe of other audience members, my state of mind before the show, the interactions I receive with performers, the music etc.
I believe strongly in the touchy-feely, in intuition, and energy. Some immersive experiences just seem to have that magic, and I’m still on my journey, figuring it out!
NP: Why (or why don’t) you think of your work as immersive?
ML: My intention so far has indeed been to create immersive experiences. I always envision my work as having an effect on the human body. It’s not just a thinking thing, but a feeling, moving, being thing. In Whisperlodge, audience members feel a tangible change in their hearing perception before and after the performance. That kind of effect is physiological. It’s something you cannot deny, and it make the piece really powerful. In other projects I’m developing, like Second Chance by Lava Saga, it’s about connecting you with real people through conversation and a shared experience of death. You emerge with new relationships with people, also something tangible.
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However, I also think that there is a danger in focusing too much on the branding of “immersive”. I want to let my artistic interests guide me in my creation. Each idea will eventually find it’s best form, immersive or not. It just so happens that my current interests align with the immersive format. There is so much experimentation I would like to do in this space, so I think I’ll be here for a while. Two years ago, I identified strongly as a textile artist and here I am today as an immersive creator. It’s all about being open to your interests, as and when they come to you, and letting that shape your work.
NP: What was the moment where you knew that this kind of work was for you?
ML: I was first exposed to immersive theater when I attended The Drowned Man in London. Like everyone else who would be reading, I had that moment of epiphany. “This is amazing! What sorcery is this!” However, if I to think about it, I think my interest in immersive work goes way back. I had always been attracted to experiential, experimental theater pieces. Growing up in Singapore, I relished the annual Singapore Arts Festival, which used to bring over some really cool theatrical works — these were immersive before immersive was a thing. I remember Rotozaza’s Etiquette in 2009, and Rimini Protokoll’s Cargo in 2010 . I felt that immersive kick then, but did not identify it as something I could end up doing. I just knew I loved the experience, and I loved how it could stick so strongly in my mind.
(Editor’s note: Etiquette is making a stand in Salt Lake City soon.)
NP: When designing — regarding your approach to presence, agency, safety, and consent — how do you cue the audience as to what’s expected of them and the nature of the content they might encounter?
ML: I think the best way to approach audience expectation is to communicate them openly. I’ve been most comfortable as an audience when I had been told what I could and could not do before a show. In Whisperlodge and Second Chance, there is a moment before the experience begins, where we lay out the rules of engagement, as well as the safety and consent reminders. These can be phrased to fit the occasion and the mood, but should be delivered clearly and with some authority. I think it’s also very important to give the audience a chance to ask questions if they are have any.
NP: What works — be they creative works, books, or other inspirations — have shaped your current work?
ML: This is another hard question for me to answer. I think my whole life experience so far has shaped my current work. I try to expose myself to as much immersive work as I can, and from each show, I’ve learned a little bit, helping me form a knowledge base from which I can create. I’ve been lucky enough to experience living in Singapore, London, New York, and San Francisco, and I’ve collected memories from all of these cities.
I’d say my biggest inspiration, the seed of it all, often comes from my present concerns and interests. ASMR is an important part of my daily life, and that has culminated in Whisperlodge, Whispers On Demand and other live ASMR projects. I’ve also been obsessed with thinking about death for a long time. I remember being so impacted by the imagery on the news when 9/11 happened, and even today, I am so fearful of all the unpredictable threats we face in the world. It has prompted me to work on a whole series of collaborations this year around the topic of death, including Second Chance, which is happening from April 20–22 in San Francisco. The rest will be revealed as and when I actualize them.
As I mature as an artist, I’m realizing the importance of being present with myself; knowing myself before communicating myself and putting myself out there. I’m in a phase of life where I’m hungry and driven. I see this immersive future everyone is talking about and I feel that momentum of change, like we’re in the early days of inventing the next big thing. That gives me so much motivation and I really want to keep being a part of this world.
View all of our Immersive 5 Interviews.
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