immersive ​performance

meow wolf

Meow Wolf's dynamic, maximalist approach to art and performance extends to every department. As a performer in Santa Fe's House of Eternal Return, Emily worked as an actor in a company of eight, improvising with audiences in the space and helping them discover the deeper narrative at play. Emily also worked as a Project Manager in Meow Wolf's Interactive division, which focuses on immersive, maximalist, mixed reality experiences. In recent years, Meow Wolf produced several Mixed Reality experiences which used a variety of technologies. The Navigator was a Magic Leap headset experience paired with a physical sculpture, and was taken to Leap Con in 2018. In 2019, Meow Wolf partnered with Microsoft to produce a Hololens experience and to collect volumetric captures in a Meow Wolf branded space, as well as producing an XR play that featured a company of ten actors, various sculptural and scenic elements, and five unique Magic Leap headset experiences. 
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​Rolling Stone
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verstehen

Co-developed and performed with Meason Wiley, this improvisational performance series for sound and live painting explores approaches to sonic/visual improvisation, focusing on methods of conversation between two artists of different mediums. Each performance embodies a unique approach to real-time creation of interactive multimedia art in front of an audience. Both the sound and visual components are directly influenced by each other through a series of conversational “rules” defined by the artists. Additional interactive and technological components were introduced as the performances progressed that allowed each artist to further influence the other’s artwork. Verstehen was performed at the Link + Pin Gallery in Austin, Texas in July 2017. Later that year, it was toured along the west coast, and it was most recently performed at Mesa Por Vida, an annual music festival in Glorieta, New Mexico.
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Verde News

an infection/ a haunting

Developed, directed, and costumed by E.L. Hohn, this piece took place in the halls of the Winship Drama building at University of Texas Austin. Audience members were guided through the space, where they encountered various strange characters, with odd, robotic movements. The performance was visceral and played to audiences' senses, encouraging them to smell, taste, hear, see, and feel in a series of short scenes. Guests were given a small jar and told that they had been infected with something. They were required to follow a doctor's guidance as they made their way through the various segments of the performance.

deus ex machina
by liz fisher

Written and directed by Liz Fisher, Deus Ex Machina, based on the Oresteia, was a live, choose your own adventure with 12,288 possible unique outcomes. Using a digital voting system specifically developed for the performance, audience members could use their smart phones to vote in real time on the outcome of the play. Audiences also had opportunities to barter for more individual voting power.
Winner, B. Iden Payne award for Outstanding Stage Management
Winner, B. Iden Payne award for Outstanding Technical Achievement
Winner, Central Texas Excellence in Theatre award for Best Original Play
Nomination, B. Iden Payne award for Outstanding Featured Actress in a Drama
​Nomination, Austin Critics' Table award for Lead Actor in a Drama

​Press:
Anonymous Austin Theatre Critic
​The Well
Twilio
Austin Chronicle
CTX Live Theatre

murder on the rails

For this performance series, Penfold Theatre collaborated with the Austin Steam Train association to produce murder mysteries which were performed as guests took a three hour ride through the Texas Hill Country. The plays had to be performed separately in each individual train car, meaning each scene was performed between six and eight times during the three hour performance. Actors had to move back and forth along the train, improvising with guests and collecting votes to see who had chosen the murderer correctly.

othello
by william shakespeare

For the 2010 Abilene Shakespeare Festival, Othello was performed with a twist: not only was the set itself partially digital, but audience members were encouraged to use smart phones during the performance. A running comment thread was maintained, and occasionally a symbol would alert the audiences to check this thread for historical facts, word meanings, and references they may not otherwise have understood. One half of the audience was sent messages that painted Othello as the hero of the piece, while the other audience members were encouraged to root for Iago, traditionally the villain of the narrative.
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