It's an interactive, immersive version of Macbeth that plays out over 6 stories of a warehouse in Chelsea. No matter how cool you think that sounds, the reality is cooler. The audience wear masks, and are free to roam at will through the sets—a forest, a speakeasy, a Scottish high street.
The actors, maskless, run amok in this space, doing interpretive dance and occasionally pulling spectators into the scenes. Here's another important rule: as an audience member, you're not allowed to speak.
This results in flocks of silent, white-masked spectators racing after actors through the dim corridors of the warehouse.
Among other things, being masked completely changes how you interact with people. You don't think about how much energy goes into making proper facial expressions until you no longer have to.
You get to take a break from being a person for awhile.
I didn't realize how freeing this was until I was face-to-face with an actor, and she could emote at me and all I could do was stare at her, from just a foot away. Reflexively you try to communicate anyway—how do you tell someone you really appreciate their performance with only your eyes?
Back to the man. Back to anonymous intimacy.
I don't date. I don't want to, and I'll get anxious before I get emotionally attached. I'm aromantic—I don't feel romantic attraction, and I don't prioritize romantic relationships. But I get crushes: I've come to know them not as signifiers of romance to come, but as part and parcel of the excitement of meeting someone new and enjoying the freshness of our interactions. Crushes develop into friendship for me.
I love the allure of strangers. I'm a flirt, a terrible flirt, but always on the knife's edge of anxiety that my flirting will be followed up on, and I'll have to let someone down.