“A DOOMED VILLAGE” | AN IMMERSIVE THEATER EXPERIENCE IN NYC

Filmed by Katalina Gutierrez - Edited by Astrid-Lark Peterson

From mid-October 2022 to January 2023, I had the opportunity to work with FIRE ON THE MOON PRODUCTIONS on the pre-production for the premiere of the first story of the NIGHTTIME STORIES series titled A DOOMED VILLAGE. The show was a dark ride-inspired, immersive experience that artfully combined elements of theater performance, film, and music. Created by executive producer Astrid-Lark Peterson, A DOOMED VILLAGE completely transformed the legendary Gene Frankel Theater, located in the Lower East Side of Manhattan’s NoHo District, into the surreal world of Mount Tumoe. It was the most experimental production ever performed at the theater.

The walkthrough experience started in the theater lobby, cloaked in black curtains and surround sound, where audiences were greeted by the main character — Krem, who was played by actor Tom Koch. He invited the guests to follow him through a secret passageway into his dystopian village, designed by production designer Nino Amari, where Krem has been investigating a series of mysterious disappearances. In this imaginary world, Krem guides audiences through a mixed reality experience to tell the story of finding individual identity in a time and place where non-compliance is punishable by death.

Audience members participated in the show as silent "travelers” to Krem’s cabin in Mount Tumoe. They were invited to look around the set but could not talk to or touch Krem. They observed and experienced the show in step with Krem rather than watching from a seat in an auditorium, which may have been destabilizing to some without the separation between the audience and the performer. In a sense, the audience was a passive part of the show. Select audience members could even carry LED lanterns, which added to the immersive experience.

Photos by Luana Seu

Filmed by Katalina Gutierrez - Edited by Joe Fitzpatrick

The film, which was incorporated into the production, was filmed and edited by director Nicolle Márquez. As the story unfolds, A DOOMED VILLAGE blends an original soundtrack by Lark-Peterson and music producer Nick LaFalce, original score by audio engineer Drew Storcks, and sound design by Clair Morgan (NODDERLY), into deep layers of sound which enriched the audience’s experience. The original score and soundtrack is available for streaming and download on Bandcamp.

Through a series of projections and lighting effects programmed by lighting designer Reid Sullivan and cued by electrician and light board operator Daniel Hughes, Krem moved with the audiences through the performance. As the story unfolded, A DOOMED VILLAGE blended multidimensional storytelling via live theatrical performance and projections which Krem interacted with and guided the audience to pay attention to as the performance unfolded.

Huge thanks also goes to stage manager Mary Brennan for running the show and makeup and wardrobe artist Dorothy Bhadra for their work in bringing Krem’s character to life.

The show was written as Episode One of a multi-part theatrical series, which may have not been clear to the audience. However, our goal is to expand upon A DOOMED VILLAGE in future performances to provide more context and a more immersive, engaging experience for the audience.

A DOOMED VILLAGE ran from January 14-22, 2023, and, at this time, there are no future dates scheduled.

Photos by Joe Fitzpatrick

I'm stoked to have been part of the creative team for this production as the Creative Producer for FIRE ON THE MOON PRODUCTIONS. I started in the role overseeing the production of SUNDOWN SESSIONS based at our studio in Richmond, Virginia, in September 2022. Season One features performances by BENJI WILSON, Casey Graham of MIDLIFE PILOT, and PRISONER (coming soon).

After we wrapped the filming of season one, Astrid asked me if I could help her finalize pre-production of NIGHTTIME STORIES, and I happily accepted her offer. I really enjoy working as a member of the FIRE ON THE MOON production team, and I was excited to collaborate with them on the new project.

Until January, all of my interactions with the team were done virtually on Zoom. As we got closer to the end of pre-production, Astrid asked me if I could come to New York to help with load-in and set construction. Unfortunately, I could not attend for the first two days of load in due to another job commitment, but I was able to come for the rest of the week leading up to opening night.

After I arrived on January 11, it became a full sprint to get everything done, troubleshooting technical issues, making runs out to stores in Manhattan to purchase equipment, and make sure that the expectations were met in our rental agreement with the theater. It was a lot of work, but in the end, it was all worth it as we saw our hard work come together under the deadline for the opening show on Saturday, January 14. Unfortunately, I was not able to stay for opening night because I had to get back home to care for my dog Daphne as my wife went back to work the next day.

I’m grateful that I had the experience as it was the first time I got to travel to New York for a creative job. It was very affirming that I am making progress in my professional development. I’m grateful to FIRE ON THE MOON for the opportunity to be there.

FIRE ON THE MOON provides a community platform that helps musicians discover and partner with visual artists and production industry professionals to collaboratively create quality promotional content and captivating performances of all kinds.

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