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‘Bis it theater?” you might keep asking when you receive the latest from Silent Uproar. It’s visual; there’s a set and lighting. There’s sound design by Eddie Pickard and one central act. There’s a script and a director.
The question comes from the format: Night of the Werewolves involves the audience playing the Mafia game (or whatever you call the game that the BBC’s The Traitors is based on). The project begins with Alex Mitchell welcoming us, setting the stage and talking more about the franchise; This game is rated 18+ and we encourage you to be as silly as your imagination allows. Everyone is given a card with a person who lives in the nearest village. Among others there is an innkeeper, a butcher, a financier and a brothel owner and we are asked to name them. I was a Chanandler Bong (candle maker).
Mitchell becomes the Professor and the game begins. The conceit is that we are the experts who hired the Professor to tell us the story of several bloody nights in the village 400 years ago. We refer to the village by conveying the idea of bodily fluid with the verb, hence the action in Pissbubbleton, where the river Doggy (we are asked to describe sex) flows.
Mitchell is a charismatic and charismatic narrator, encouraging the abundance of smut and silliness, channeling Richard O’Brien at his worst – he borrows humor from the delay of the word “waiting”. He guides us, the villagers, several witches and four wolves through the night with assurance, guiding and explaining accordingly.
It’s high camp and by the end you’ll be convinced that this is serious theater and that it’s a lot of fun. There is a postscript about the dangers of group control, lending evening heft.
You’ll also be incredibly emotional: I’m still angry that as a witch and protector of the village, I was one of the first people voted to be thrown into the fire.
