Capital W is an immersive theater group that has garnered a positive reputation as purveyors of experimental, immersive, location-based theater, staging well-regarded productions for intimate audiences.
- Capital W
- Los Angeles Area
- Innovative, site-specific staging
- Intimate audience size (often ranging between one and four)
- Emotional connections and drama
- Heavy immersion with varying degrees of interactivity/personalization
More about Capital W
Having previously collaborated in the world of sketch comedy with their troupe Lost Moon Radio, director Lauren Ludwig and producer Monica Miklas formed Capital W in 2015 to pursue immersive, experimental, and site-specific theater in Los Angeles. Their three productions thus far have shown great variety in terms of content, but consistently incorporate experimental staging elements, including shows staged in public spaces, vans, and the insides of actual homes.
Hamlet-Mobile – Premiering as part of the 2015 Fringe Festival, Hamlet-Mobile was a mobile theatrical experience, performing a cycle of 8 short pieces adapted from Shakespeare’s Hamlet (and using Hamlet’s original language). On performance nights, the Hamlet-Mobile cargo van would park in a single location and perform one of these 8 pieces in a loop for a 3-hour time block. Audiences ranged in size from one to four. Hamlet-Mobile proved an especially strong debut for Capital W, being one of the most revered shows in the Fringe Festival for 2015, winning the “Game Design” award at Indiecade, and even being collected in the Applause anthology Best Plays from American Theater Festivals.
Hamlet-Mobile consisted of 8 separate pieces:
- Family Feud wherein we meet the royal family and see how they hold court.
- Advice from Dad wherein Hamlet is visited by his dad.
- Break-Up Sex wherein Hamlet and Ophelia have it out.
- Interior. Kitchen. Night wherein we answer the question “to be or not to be.”
- Crown | Ambition | Queen wherein Claudius and Gertrude circle one another, the van, and the truth.
- Girl With Flowers wherein Ophelia, Polonius, and Hamlet get mad.
- The Dumb Show where we perform a play within a play.
- The Gravedigger Hotboxes the Van wherein you get your van fixed and a free Gatorade.
And the Drum – An immersive dinner party performed inside the Koreatown home of LA-based entertainer Martha Marion. Integrating narrative drama, original music, dance, and poetry, And the Drum invited audiences to share an intimate evening with its performers, making decisions and interacting in ways that shaped the events of the evening as they went (much like at any “real” dinner party). The show ran from February 26 to March 19 of 2016.
Red Flags – Part of Hollywood Fringe’s 2017 season, Red Flags invites its singular audience member on a date with Emma, a woman whose online dating profile states that she can’t live without “Jane Austen novels, my rescue dog, or love.” As the date inevitably begins to turn sour, the audience member is forced into situations which force them to reconsider their feelings on intimacy, dating, and judgment.
Rochester 1996 – Part of Hollywood Fringe’s 2018 season, Rochester 1996 was the story of an urban pastor, his teenage daughter, and a Sunday that shaped the rest of their lives. The show explored issues of identity, sexuality, and faith through the specific lens of late 90s Christianity in upstate New York. This was an immersive, interactive experience that took between 2.5-3 hours and involved locations across Los Angeles, starting and ending at Thymele Arts. Participants rode in a vehicle, talked to actors, moved, and walked through various locations. This was a play involving religion; not a religious play.
Between Us: The Blind Date – You’ve been set up on a blind date to wander through the Museum of Contemporary Art Denver. Skip the small talk and dive into the big questions of creation, destruction, and the way we expose our true selves through the strange ritual of dating. This was a commissioned work based loosely on Red Flags.
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