EXECUTIVE SUMMARY

Concept

Both live theater and online virtual reality share a common thread – drama. The Sanity Patrol Players will combine these two venues into a unique experience on the complexity of relationships in a technological world. LOL is live theater in two locations that utilizes online virtual reality to communicate between the two. The distance between locations is of no great consequence other than determining whether a cast of six or twelve is used. At this time, the first choice online virtual reality platform is Second Life (“SL”). LOL will attract a wide range of audience, including theater goers, 3D artists, techies and SL residents.

With advances in technology, theaters include multi-media in their productions. Performance art has upped the bar as far as multi-disciplinary presentations engaging enough to compete with the ease of attending blockbusters in movie theaters or at home. LOL capitalizes on a growing interest in how to integrate high tech and love production. LOL will help clarify the significance of virtual relationships and community.

THE EVENT

The farce that is LOL is a cross between Shakespeare's As You Like It and The Simpsons . The three characters in each location will use the exposition of the play to identify:

• Their real life person
• Their real life relationships with the other characters
• Their online avatar
• Their online relationships with other avatars including the avatars of characters in the play and other SL avatars.

Two characters, one in each café, will use avatars of the opposite sex. At least two real life relationships between characters will be identified during the exposition.

Characters will communicate by means of:

• Onstage conversation
• Chat (public exchanges on Second Life)
• Instant messaging (private exchanges on Second Life)
• Cell phone (possibly including texting)
• Email

In many cases, the characters will read aloud as they go – both the text of others and their own. The script is written to force focus on the central action and includes opportunities to “catch up” for the audiences by using repetition and possibly a summary on one of the screens.

Between Acts I and II, and between Acts II and III, the six actors switch locations or are replaced by three actors who assume the characters of those from the other location. If performed locally, this could be an actual switch.

There is potential to include other elements:

• Voice (via SL)
• Online access to the event for those on SL
• Webcams at each location

The simulated environment (“SIM”) used for LOL could require an entrance fee for those on SL to attend the event. Most residents enjoy a spontaneous SL lifestyle. If included at the event, SL attendees would need to appear with the character avatars prior to the commencement of the live presentation to be screened and to learn the limits of their participation.

The live portions of the play could be video streamed into the SIM and other SL venues, possibly requiring an entrance fee, so that other avatars could also follow the action. Locating the performances in cyber cafes and restaurants would allow audience members to log onto the SIM of LOL in SL as SL attendees.

This interaction presents promotion opportunities that incorporate a larger audience, offering greater sponsorships and opportunities to introduce products/services to SL.

LIVE THEATER COMPONENT

LOL is a romantic farce about online and offline relationships, including issues of cross-gender exploration. Performances occur in two cyber cafes, restaurants or some facsimile thereof. In each location three actors perform in their own small playing space with a computer and in an area where they can interact. Big screens project the activities of the three actors when they are on SL. Two sets of three actors exchange locations during intermissions. Locations for the live portion within a range of approximately 10 miles can utilize two sets of three actors; otherwise four sets of three would be employed.

SL COMPONENT

SL of Linden Labs can be accessed by anyone with a relatively new computer and internet access – preferably broadband (see more detail and pictures at Appendix A). Avatars are designed by the user, so they may or may not reflect the gender, appearance or even personality of the user. They may be human, furrie (animal) or anything in between. Within Second Life, there are numerous opportunities for spontaneous interactions – communities of those with a shared interest, clubs for music/dancing, educational institutions, sex clubs and shopping (body parts, clothes, animations, etc.)

LOL anticipates utilizing a private SIM, a restricted location on Second Life, designed for the avatars of the actors and character avatars who will further the action of the play. The SIM will include custom animations, scripting and builds. (See Appendix C)

• Establish ongoing performances at two venues in the greater Seattle area.

• Encourage productions of LOL across the State of Washington, into the State of California and then across the country.

• Move past the borders of the United States to other countries, adapting the script accordingly.

• Tour large high tech corporations who could accommodate two playing spaces, to demonstrate a use of virtual reality and as a shared activity for employees.

• Develop subsequent plays along the same vein that keep up with the latest technology and online social interaction interfaces.

• Create new art forms and performance venues.

• Attract a new audience to live performance, including those who are younger.