If not for Sarah Pinsker, whom you met nearly three years ago when this podcast launched, this episode would not exist. That’s because she fell under the spell of the the Baltimore-based immersive theatrical troupe Submersive Productions, and like some zombie patient zero, proceeded to infect all the members of the science fiction community she knew who could make it to their run of the extremely science fictional H.T. Darling’s Incredible Musaeum presents: The Treasures of New Galapagos, Astonishing Acquisitions from the Perisphere.

There were fantastic beasts — including a giant jellyfish which almost swallowed one of the scientists until he was saved by a song — clones, alternate worlds, alien environments, and (in the evening’s climactic scene) a giant dinosaur skeleton puppet.

The most recent theatrical event I attended presented by Submersive was A Horse By The Tail In The Night, part of a series called The Institute of Visionary History and the Archives of the Deep Now. The company claims that during work on H. T. Darling, they uncovered experiments performed decades earlier by a secret society making use of the fact the museum in which they staged their happenings was a “thin place” — that is, a place where our world can bleed through to other times, other dimensions, other realities.

And so I found myself in a small room for eight hours with two seemingly immortal aristocrats who were apparently trapped there, and who struggled to cope with and understand their plight, repeating interactions — games, the telling of tales, the preparation of potions — with variations. I was sometimes fed by them, sometimes ignored, sometimes interrogated, and in those hours they, too, were creating something fantastic, something science fictional, something worth exploring on this podcast.

Science fiction takes many forms, the theater being one of them, and when it’s theater as otherworldly as this, I feel it’s an aspect of science fiction which deserves a place here. So I shared take-out from MayureeThai Tavern on the penultimate day of 2018 with the two actors who brought those doomed, immortal aristocrats to life, Lisi Stoessel and Francisco Benavides, as well the co-artistic directors of Submersive Productions, Glenn Ricci and Ursula Marcum.

We discussed the ways everything from Dragon Ball Z to Myst to Terry Gilliam’s Brazil stoked their love of the fantastic, how the funding came together for their first mesmeric show about the women in the works of Edgar Allan Poe, the dare that made their recent durational play grow to eight hours and the half-scripted/half-improvised way they were able to keep their performance going that long, how the actors found their voices by channeling Katherine Hepburn and Roberto Benigni, the multiple meanings of the most transcendent pie-eating scene I’ve ever witnessed in the theater, how they deal with introverted (as well as overly extroverted) audience members during immersive performances, the differences between improv comedy and improvisational theater, and much more.

Here’s how you can listen to our conversation — (more…)