Woolf and the Wondershow’s Cages – Look, Just Go See It

I deliberately avoided reading up on Woolf and the Wondershow’s Cages before going in, so all I had in terms of advance knowledge were a couple enthusiastic recommendations. That’s probably not a bad way to experience it, so if you’d prefer to go in blind but want to know if it’s worth it, you can stop here. Yes, I recommend seeing it. Cages isn’t perfect, but it is very, very good, and from a technical standpoint it’s probably the coolest thing I’ve seen all year.

All Citizens Report to Judgement

It’s not as easy as you might expect to classify Cages, or indeed Woolf and the Wondershow either. Their Facebook page lists them as a band, but I wouldn’t call Cages a concert. Rather, producer/singer Christopher J Baran and film composer Benjamin J Romans have created something that sits somewhere in the middle of themed pop-up bar, site-specific walk-through, and rock musical. The show’s plot and overall concept are drawn from their 2015 single of the same name, but expanded and refined into a full three-act production.

Of course there’s more to the experience than the stage show itself. The doors open roughly an hour before the show proper begins, giving the audience time to take in the ambience and perhaps a cocktail or two in the lobby/bar area. The décor, and attire of the staff, are very much dystopian steampunk. The lights are dim, colors are muted (apart from the cocktails), WANTED posters for the fugitive Woolf dot the walls, frantic scribblings fill a chalkboard, and in the seating area stands a white, bare tree. When it’s time to head to our seats, a dreary, distorted voice informs guests that Woolf has been apprehended and they are to “Report to Judgement” to witness his execution. We pass several exhibits based on the musical’s plot (which we are allowed to photograph) before entering the theater (which we are not).

Drink This

I’d apply the term “well-made” to both the cocktails and said exhibits on offer. While traditional beers, wines, and mixed drinks are available, I recommend giving the themed ones a go. They take their inspiration from different parts of the story, and while they’re a little on the pricey side I will say they the two I had (“Anger” and “Beckoned from Beneath the Frost”) were both very good.

I have mixed feelings about the immersive area. Again, they were well-done, and depending on when you check them out during the show they have different sights and even activities on offer. But they feel more like a photo op than a real immersive experience, and since they happen in side rooms of the narrow hallway used to enter and exit the main theater crowding can become an issue. Still, worth a look.

Listen Closely. I Want to Tell You a Story

I’ll get the show’s weak point out of the way: Cages’ plot doesn’t measure up to the rest of the overall experience. I wanted to be invested in the characters, but never reached a point where I felt like I knew the characters well enough to care about them. Part of the issue is that the narrative is a little generic and tropey. But I also got the feeling that the story is an afterthought, a thread to tie together the music and video rather than a focal point, and I disengaged accordingly.

I’m honestly not sure how to make the plot more impactful without changing the format to more closely resemble a traditional musical. Spending more time letting the audience get to know the characters, see their relationships develop and hear their inner monologues would probably give more weight to what happens between and to them. But as it is, Cages’ story feels a little pale and listless, much like the fictional city of Anhedonia in which it takes place.

On the flip side, I really don’t think the story was the point here. It’s a thread tying together the music and video which are Cages’ main focus, and its strength.

The Boy with the Red Heart

While Cages feels like its writing takes a back seat to the score and technical wizardry, the latter two more than make up for it. The combination of holographic and rear projection allows Cages to blur the line between an animated and live-action production, creating some truly stunning visuals that are worth the price of admission in their own right. Positioning the performers between the two screens allows for the sort of VFX you can normally only achieve in post-production, which Cages employs frequently and to great effect. Woolf (Baran)’s confrontation with his “shadow” stands out as a particularly strong use of the technique, but there are plenty of others I don’t want to spoil.

Cages utilizes several other visual storytelling tricks, both in the show and the lobby area, to help craft the world and vibe of Anhedonia. Color is used sparingly, reinforcing the lifelessness of a world where emotion is outlawed, and making those moments where they do show up be as impactful as they should. Crooked lines on things that ought to be straight or curved add to the feeling that the world is broken.

The score is another strong point. While Cages’ visual sorcery is admittedly the show’s main draw, Woolf and the Wondershow are no slouches in the music department. The score hops between genres, ranging from the dark and heavy opening to dubstep and a lot of ground in between. The only reason I even found the single the show is based upon is from searching for the soundtrack after I got home.

All Lovers Must Perish

Woolf and the Wondershow’s Cages provides an innovative and impressive experience that definitely stands out among the year’s immersive and site-specific productions. Blending elements of immersive theater, rock opera, and a tech-heavy rock concert, Cages may not move you to tears with its story, but Baran and Romans definitely put the “wonder” in “Wondershow.” This is without question one to see if you’re able.

Showtimes are at 7pm on Thursday-Saturday in downtown Los Angeles through January 30th. Tickets can be purchased on the Cages DTLA webpage or via the DICE app. You can follow Woolf and the Wondershow on their Facebook, Instagram, Twitter, Soundcloud, and other channels.