Introduction

The main question was how can we use the gaming dramaturgy for storytelling. We were also looking for the answer to how the form of an escape room can be mixed with the dramatic elements of the theatre.

In addition to the physical, manual riddles known in traditional escape rooms, the entire game is controlled by a computer. In addition, we use VR and AR via a tablet, a video game that can be played with a controller, an overhead projector and a cassette recorder. These elements make the interaction varied for the players and strengthen the context of the rooms coming from the future.

We wanted to explore whether parts of the story discovered in non-chronological order could be assembled into a whole story for the players. In other words, is it possible to tell a story in such a way that the spectators get only fragments of information in a random order? We aimed to discover how to make audience participation simple, interesting, relevant, and playful.

Creative Process

How did the collaborators work together on this project?
From the beginning, we involved specialists in the creative process who are not usually part of a theatre performance: interactive game designers, video game designers, and environment activists. In close consultation with them, we wrote the background story of the performance based on their creative ideas and then developed the various game elements.

What forms of trial-and-error occurred?
The escape room can only be developed during testing because even if we think in advance about all possibcomplex and "illogicalities", it will only become clear in practice whether the spectators can solve our riddles. Tech is constantly at risk because players can touch anything in the room.

Did you use existing software and/or applications?
The game is controlled from outside the rooms by admins via a computer with unique software that was developed for the show. The VR and AR elements used in the rooms are customised versions of existing software.

What were the key milestones in the development of the production?
In the first phase, we dealt with a deeper understanding of the topic (global water shortage).

Parallel to this, we studied the logic and dramaturgy of interactive theatre games and video games with the involvement of our experts.

We worked parallel on the tech and script (and involved the designers, too). (Set- and costume designer, the visual designer of the application.) In order to make the audience interaction more excessive, we built two rooms so that fewer people get into one space. Since the set, in this case, is not just a background, but the players can do everything in them, the planning and execution required much more detailed elaboration. That is why we involved our professional partner, the students of the University of Fine Arts, in the development and execution of the details.

We needed a lot of pre-recorded video footage. First, we had to script them and make some trial recordings to rehearse with them.

Once the set and all the tech were finalised, we had two weeks of rehearsal – mainly in the form of test runs.
We had our official premiere on the 19th of June 2021.

The production is in the repertory of Kolibri Theatre and was played 38 times until the end of Jan 2024.

Reflections

Our general experience is that the game elements' difficulty level is ideal: players encounter moderately difficult (i.e. solvable sooner or later) riddles in the rooms. From time to time, there are technical problems that hinder the smooth flow of the game. Although the audience can eventually piece together all the fragments of the story, it is challenging to keep their interest and concentration in the environmental theme of the performance during the play.

In what ways was the production a success?
The performance - primarily because of its unusual, unique form - received a strong press response. The escape room theatre is also a memorable experience for the student audience. In the last two seasons, the theatre played the show nearly forty times, although the technical preparation of each performance is highly time-consuming.

What elements of the final production would you change?
I would change some of the pre-recorded videos because their forced semi-documentary style is also the reason why they do not always hold the viewers' attention.

What advice would you give to artists taking a similar approach?
Give yourself enough time for testing because even the best preparation is not enough to guess the audience's reactions.