They were ordinary, and I soon folded them up and put them back. I took a pair of blue jeans out of a half-open dresser drawer. I fiddled with the buttons on the television, but nothing happened. I picked up the telephone receivers, but heard nothing. In a tilted motel room set, I found myself less interested in taking perspective-bending photos, and more into trying to discover other weirdness in the room.
#ELSEWHERE MADCAP MOTEL FULL#
At one point, for instance, someone in my group stuck his head completely into an open porthole diorama because he wanted to experience the full “infinity” effect of its mirrored panels.īut when I asked him if it was worth it, wondering if I should stick my head in too, he said not really. If the goal is just to get people into a playful mindset, Madcap definitely achieves it. But I know that’s not what it is, and it certainly doesn’t need to be one. At times, my instinct was to approach certain elements like an escape room. I want to take Elsewhere as it is, without putting too many game-design-y expectations onto it. That being said, I’m on the fence as to whether Madcap does enough with the curiosity it inspires. Here is a tale of two Elsewheres: one where you are encouraged to act on your playful impulses, and another where doing so is super not allowed. Therrien’s chairs and Madcap’s chair inspire a similar Alice in Wonderland feeling, both childlike and surreal. The gigantic chair at Madcap, by contrast, is clearly meant to be climbed on, and he easily got the photo op that the sculpture invites. Surprise surprise, he was scolded by museum staff. While posing for a photo, my friend tried perching on the bar supporting the chair’s legs. One of the pieces at The Broad is “ Under The Table” by Robert Therrien, a way-larger-than-life dining table and chairs. By coincidence, I’d gone to the museum with a friend who was also in my Madcap group. One very Alice in Wonderland feeling in particular was juxtaposed in my mind with an experience at The Broad, which I happened to visit just two days prior. You take a look, and maybe a photo, and then continue on. Some have deeper layers to uncover, others are apparently rather simple. Its purpose is “wandering” and “wondering.” You explore one oddity after another. Put another way, Madcap’s Elsewhere is Wonderland. It is the essence of childlike playfulness: inexhaustible curiosity, and the willingness to take even the most ridiculous things completely seriously. At one point, a scientist character gestured our group over to observe one of the creatures of Elsewhere: a shadow puppet of her own hand behind a large leaf. Some wore lab coats and carried clipboards, on which they enthusiastically took notes regarding not only the strange phenomena of Elsewhere but also our own behaviors as visitors. The people (actors) trapped in Elsewhere, too, are curious: both inquisitive and unusual. Curiosity is the basis for the main part of the experience (basically, what could be behind that door?). Madcap’s particular Elsewhere is a house of curiosities. In one form or another, these experiences all aim to transport us Elsewhere and promise us a temporary escape from Reality. There is a way to talk about The Madcap Motel that is very meta about immersive entertainment.
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