Viola's Room - The Shed

About Viola’s Room

From Punchdrunk (creators of the long-running smash hit Sleep No More), Viola’s Room reimagines a classic gothic mystery in an immersive, sensory experience.

Join us for an intimate adventure that promises to infuse the dreams of anyone who dares to follow the light.

★★★★★
“Inspires so much puzzling wonder that you want to go straight back in.”
—The Guardian

★★★★
“Helena Bonham Carter leads you into a moonlit world you won’t want to leave.”
—The Daily Telegraph

★★★★
“Punchdrunk’s spooky fairy tale is the immersive legends’ best show in years.”
—Time Out

Program Details

Tickets start at $49!

Running time: Approximately one hour

Entry Times

Tuesday – Thursday, 4 – 7:45 pm
Friday, 3 – 10:45 pm
Saturday, 12 – 10:45 pm
Sunday, 12 – 8:45 pm

Please arrive 20 minutes prior to your entry time. No late entry; no refunds, no exchanges.

Viola’s Room is an audio-based journey where you will explore a world guided by light and sound. You will enter the experience barefoot and will be given an audio device and a pair of headphones. Haze, flashing lights, and loud recorded sound are used in the experience.

Presented by The Shed and Punchdrunk

What ticket options are available?

1) Individual tickets admit one person per ticket.

Audience members will enter Viola’s Room in groups of up to six people.

2) A Private Experience ticket admits up to six people.

A Private Experience ticket allows you to experience Viola’s Room alone or exclusively with your group. The entire group must check in together and will be issued wristbands to identify you as a single group. Private Experience tickets are limited.

Guests with accessibility needs who utilize a mobility aid (e.g. a wheelchair, walker, surgical boot, etc.) should book an “Access ticket” in the Private Experience. If you plan to attend with a companion, friends, or family, please have them book Individual Tickets for the same time slot.

How do the time slots work?

Each booking window is a 15-minute time slot. You must arrive at least 20 minutes before your scheduled time slot to use the complimentary and mandatory bag/coat check and for a pre-experience briefing.

Will I enter Viola’s Room with the people I book tickets with?

Only those attending on a Private Experience ticket are guaranteed to enter Viola’s Room together.

What happens if I arrive late?

Due to the nature of the experience, no latecomers will be admitted. Please arrive at The Shed at least 20 minutes before your scheduled time. All sales are final and there are no refunds or exchanges.

What happens during the experience?

Viola’s Room is an audio-based journey where you will explore a world guided by light and sound. You will enter the experience barefoot and will be given an audio device and a pair of headphones. This experience does not feature live performances.

Viola’s Room features moments of darkness, as well as narrow spaces, some of which require audiences to crouch, crawl, or bend over to pass through.

Haze, flashing lights, and loud recorded sound are used in Viola’s Room.

What can I bring into the experience with me? Are phones and cameras allowed?

Cameras and mobile devices are not allowed. We’ll ask you to put your devices away and secure them on arrival. Photography and filming are strictly prohibited. Bags, purses, and backpacks are not allowed. Please use our complimentary and mandatory coat/bag check on the Mezzanine level.

Is Viola’s Room suitable for me?

Viola’s Room features moments of total darkness, as well as narrow spaces, some of which require audiences to crouch, crawl, or bend over to pass through.

Haze, flashing lights, and loud recorded sound are used in Viola’s Room.

Viola’s Room is not recommended for people who are pregnant.

Do I have to go barefoot to enter the experience?

Viola’s Room is a sensory journey that requires the audience to be barefoot. For the safety of all audience members, no one will be permitted to enter wearing shoes.

Audience members who are unable to remove their shoes due to access requirements or who have questions about this experience may contact us at accessibility@theshed.org.

What safety measures are in place once I’m in the experience?

For your safety and security, CCTV is in use and constantly monitored during the experience. You will be given instructions on how to communicate to our team should you require assistance at any point during your time in Viola’s Room.

What can I bring into the experience with me? Are phones and cameras allowed?

Bags, purses, and backpacks are not allowed. Please use our complimentary and mandatory coat/bag check on the Mezzanine level.

I have an access request. What should I do?

Please book an “Access Ticket” in the Private Experience tab for your desired time slot. A staff member will get in touch with you to discuss your request. Viola’s Room includes a wheelchair-accessible track, access stewards, audio description, and assistive listening. If you have additional questions, please email accessibility@theshed.org.

How far in advance should I make accessibility requests?

Please make requests at least a week before your visit.

Where can I learn more about accessibility?

Please visit The Shed’s Accessibility page for more details.

Creative Team

Felix Barrett MBE is the founder and artistic director of Punchdrunk, a globally acclaimed theatre company known for its groundbreaking approach to immersive experiences. Described by The Guardian as “the visionary who reinvented theatre,” Barrett has been at the forefront of transforming how audiences engage with performance art. Hailed as one of the “Pioneers of the immersive theatre phenomenon” by The Telegraph and recognized as “Hands down the best immersive theatre company in the world” by Time Out in 2023, Punchdrunk has been listed among the 50 most influential artists of the last 50 years by Sky Arts in 2022, alongside legends like David Bowie, Sir Steve McQueen, and Dame Vivienne Westwood. Punchdrunk stands as the only immersive company to achieve long-running success on a global scale. Barrett has conceived, directed, and designed all of Punchdrunk’s productions, including the multi-award-winning Sleep No More. Running in New York since 2011, it is the longest-running immersive show in the world. Punchdrunk reimagined Sleep No More in Shanghai, where it surpassed Disney’s The Lion King to become the longest-running international production in China. Other notable works include The Firebird Ball, Faust, The Masque of the Red Death, It Felt Like A Kiss (a collaboration with documentary filmmaker Adam Curtis and musician Damon Albarn for the Manchester International Festival), The Duchess of Malfi (with English National Opera), The Crash of the Elysium (Manchester International Festival and 2012 Cultural Olympiad), The Drowned Man: A Hollywood Fable, The Burnt City, and the recent Viola’s Room. In July 2024, Barrett made his proscenium arch directorial debut with Paranormal Activity at the Leeds Playhouse, showcasing his versatility in theatrical production. Punchdrunk is set to produce a live immersive adaptation of Arcane: League of Legends in association with Tencent Video, Tencent Interactive Entertainment, Riot Games, SMG Performing Arts Group (SMG Live), and Wajijiwa Entertainment. Conceived and created by Felix Barrett with Kath Duggan and directed by Conor Doyle, this production will feature the world-renowned team behind Sleep No More in Shanghai. Punchdrunk continues to lead in cross-media experiences spanning gaming, music, and television. Past collaborators include Roc Nation, Rihanna, Sony PlayStation, Xbox, and Louis Vuitton. Barrett also created the BAFTA-nominated The Third Day with HBO and Brad Pitt’s Plan B, along with The Third Day: Autumn, a 12-hour performance broadcast in real-time. In recognition of his services to theater, Barrett was appointed Member of the Order of the British Empire in the 2016 Queen’s Birthday Honours.

Daisy Johnson is the author of Fen, Everything Under, and Sisters. In 2018, she became the youngest person ever to be shortlisted for the Booker Prize. Her short story collection, Fen, was the winner of the Edge Hill prize. In 2022, she was a finalist for the Women’s Prize for Fiction Futures initiative. Sisters was adapted for feature film and will be the debut of writer/director Ariane Labed, produced by Element Pictures and BBC Film, to be released as September Says on a date to be announced. Johnson has also co-created and written Robin/Red/Breast for the Manchester International Festival. Her work of fiction, The Hotel, which previously appeared on Radio 4, was published in October 2024 by Jonathan Cape. She lives in Oxford by the river with her partner and two children.

BAFTA-winning actor Helena Bonham Carter is famously known for her roles in The King’s Speech and The Wings of the Dove—for both of which she was Academy Award nominated. Recognized for her iconic roles in Harry Potter as Bellatrix Lestrange, Princess Margaret in Netflix’s The Crown, and Cinderella’s Fairy Godmother, Bonham Carter holds an extensive list of credits and awards for her incredible acting career. Bonham Carter has gained a Golden Globe nomination and won an Evening Standard British Film Award for Best Actress for her performance as Mrs. Lovett in Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Street. Her musical triumphs can also be seen in Les Misérables and Tim Burton’s Corpse Bride, in which she played the lead, Emily. She can currently be seen in One Life as Babi Winton, Enola Holmes, and the titular role in ITV’s Nolly, a three-part drama written by award-winning writer Russell T Davis that follows ’80s soap star Noele Gorden. She has also voiced the documentary released alongside the program called The Real Nolly, which gives further insight into her life. As a voice artist, Bonham Carter sparks life into any character with such a distinguishable and energetic voice with further credits including The House, Wallace & Gromit, family favorite The Gruffalo, and most recently, the voice of Wise House in the AppleTV+ adaptation of The Velveteen Rabbit.

Hector Harkness is a live experience and theater director. With Punchdrunk he has been part of the devising team for many projects including The Drowned Man, The Masque of the Red Death, Faust, and Sleep No More. He has created crossplatform, digital, and VR experiences including ANTIdiaRY, an interactive album campaign with Rihanna, Silverpoint (app-game-meets-live-show across London), and the car-based thrillers The Night Chauffeur and The Black Diamond. He conceived Believe Your Eyes, a live VR project (originally Cannes, subsequently appearing in New York, Venice, Miami, and Montreal) and Now That You’ve Died, a sound experience in an elevator with Christopher Eccleston. Most recently, Harkness worked with Maxine Doyle in development for Salamander (Brisbane Festival) and directed One Night, Long Ago, an intimate encounter in a forgotten London office.

Casey Jay Andrews is a multi-award-winning designer and writer. She worked as assistant head of design on Punchdrunk’s The Burnt City, and she is senior designer at Punchdrunk Enrichment. She has previously designed for Shotgun Carousel, Migration Matters Festival, Imogen Heap’s Mycelia World Tour, BT Sport, Francesca Moody Productions, and The Immersive Great Gatsby in London, New York, and Seoul.Andrews has an eclectic design background ranging from large-scale immersive theater design to mural painting, illustration, and wood carving, but she has a particular interest in intimate narrative-led installations; these have provided a home for many of her independent projects. She has toured internationally with her original productions: The Archive of Educated Hearts, A Place That Belongs to Monsters, and The Wild Unfeeling World.

Simon Wilkinson works internationally as a lighting designer for theater, dance, and opera. Recent highlights include the world premiere of Disney’s Bedknobs and Broomsticks (UK & Ireland), Islander (US Tour / New York / London), Vanishing Point’s Metamorphosis (Scotland / Italy), Vox Motus’s Flight (worldwide), and Robert Lepage’s production of The Magic Flute (Quebec City). For the National Theatre of Scotland, Wilkinson has lit The Panopticon, Interference, The 306: Dawn, Dragon, The Day I Swapped My Dad for Two Goldfish, and Roman Bridge. He has designed work for most of Scotland’s leading theater companies, including Love the Sinner, A Love Beyond, The Metamorphosis, The Dark Carnival (Vanishing Point); Group Portrait in a Summer Landscape, Castle Lennox, Glory on Earth, The Iliad, The Weir, Hedda Gabler, The Caucasian Chalk Circle, and Bondagers (Lyceum); Crocodile Fever, Our Fathers, Meet Me at Dawn, Letters to Morrissey, Grain in the Blood (Traverse); I Am Tiger, The Wonderful Story of Henry Sugar, Knives in Hens (Perth Theatre); Don Quixote, The Children, Tay Bridge (Dundee Rep); The Stamping Ground (Raw Material); A Mother’s Song (KT Producing); and Muster Station: Leith (Grid Iron / Edinburgh International Festival). Wilkinson has won the Critics Award For Theatre in Scotland for Best Design three times—for Flight, Black Beauty, and Bondagers. Over the years, his lighting has created a Guinness World Record, brought tens of thousands of people to a windswept Highland Forest, and caused reports of an alien invasion.

Gareth Fry is a sound designer best known for his cutting-edge work in theater. His work includes productions for Complicité, National Theatre of Scotland, DV8, at the National Theatre, Royal Court, Bridge Theatre, Old Vic, Young Vic, in the West End, and many more. He has also designed numerous exhibitions, such as the V&A’s David Bowie Is, Alice: Curiouser and Curiouser, and Diva exhibitions, and events such as the Opening Ceremony of the 2012 Olympic Games. He is a specialist in the use of spatial and binaural sound, used in Complicité’s The Encounter, the BBC’s The Dark Is Rising, numerous VR experiences, podcasts, and advertising campaigns, including for Bose, Volvo, and Land Rover. His work in VR has been featured at the Tribeca, Vienna, and Sundance festivals. He is a founder, and spent six years as the chair of, the Association of Sound Designers (now the ASDP), a charity that works to support people working in, and entering, the UK theater sound industry. Fry is an honorary fellow of the Royal Central School of Speech and Drama. He is the author of Sound Design for the Stage, published in 2019 by Crowood Press. He has contributed to BBC Radio 4’s World at One and the World Service to talk about sound. Awards include three Olivier Awards, two Tony Awards, two Drama Desk Awards, two Helpmann Awards, and an Evening Standard award. Recent work includes Macbeth (Donmar Warehouse); Free Your Mind (Aviva Studios); Romeo and Juliet (Almeida); Medea (Soho Place); Diva (V&A); On The Ropes (Park Theatre); A Christmas Carol, John Gabriel Borkman (Bridge Theatre); Caucasian Chalk Circle (Rose Theatre); To The Streets (Birmingham 2022); Psychodrama (Traverse); Jungle Book Reimagined (Akram Khan); Bedknobs & Broomsticks (UK tour); The Language of Kindness (Wayward Productions); Harry Potter and the Cursed Child (London, New York, Melbourne, San Francisco, Hamburg, Toronto, Tokyo); The Encounter (Complicité); Bach & Sons, Alan Bennett’s Talking Heads, Beat the Devil (Bridge Theatre); The Arrival (Bush Theatre); The Barber Shop Chronicles, Draw Me Close (National Theatre); Still No Idea (Improbable); and Invisible Cities (Manchester International Festival). Other work includes Cat on a Hot Tin Roof (Apollo Theatre); A Christmas Carol (Noel Coward Theatre); Woyzeck (Old Vic); The Master & Margarita, Shun-kin, Endgame (Complicité); Let The Right One In, Black Watch (National Theatre of Scotland); CBeebies Thumbelina, Nutcracker, Alice in Wonderland, A Christmas Carol (BBC); Wings, The Cherry Orchard, Wild Swans, Hamlet (Young Vic); Boy (Almeida); Othello, The Cat in the Hat, Kneehigh’s A Matter Of Life and Death, Attempts on Her Life, Waves (National Theatre, England); Road, B, Victory Condition (Royal Court); Othello (Frantic Assembly); John (DV8, National Theatre), and soundscape design for the Opening Ceremony of the 2012 Olympic Games. Fry trained at the Central School of Speech & Drama in theater design. He is the author of Sound Design for the Stage.

Tom Turner is an associate lighting designer and lighting programmer from London. As associate lighting designer, recent theater includes Matthew Bourne’s Swan Lake (UK & International Tour), War Horse (UK & International Tour), Phantom of the Opera (Raimund, Vienna), Traplord (Europe & MIF), Macbeth (UK Tour and STC Washington, DC), The Ocean at the End of the Lane (UK Tour), A Strange Loop (Barbican), Bat out of Hell The Musical (UK Tour), Les Misérables The Staged Concert (Gielgud), Elf (Dominion), and The Grinning Man (Trafalgar Studios). As assistant lighting designer, theater includes Bat out of Hell The Musical (Manchester & London) and Chess (ENO).

Helen Skiera works in creative sound, designing and creating live and recorded experiences. She has a focus on binaural, immersive, and site-specific experiences. She works extensively with a sennheiser ku-100 binaural head and has a 7.4.1 Dolby Atmos rig. She can work in Logic Pro, Ableton Live, and Pro Tools. Skiera also teaches and leads workshops in sound, exploring concept, design, and technical skills. In 2024 she created the binaural sound world for the live theater show Toto Kerblammo by Tim Crouch. This show has been nominated for the TYA category at the Offies Awards. She has created multiple audio dramas, some using binaural technology. The audio drama BLIS-TA with Clean Break theater company has been nominated for a BBC Audio Drama award. Skiera worked on The Encounter with Complicité, a live theatrical experience based on binaural sound. This show toured the UK, Europe, and was performed on Broadway. As part of Gareth Fry’s sound design, Skiera participated in a highly collaborative process where she was involved with live mixing of a binaural head and other vocal mics, interacting live with binaural recordings, and live looping (with Ableton Live). This was delivered to the audience entirely through headphones. She also assisted Fry on the Complicité/BBC audio drama The Dark Is Rising.

Malú Ansaldo, International Producer
Heather Ruck, Producer
Rich Irvine, Production Manager
Tom Kirkman-Wood, Technical Manager
Dan Kettle, Production Coordinator
Joe Goulding, Head of Set
Arabella Wunderlich, Head of Design
Charlotte Gainey, Head of Scenic
Neill Pollard, Head of Lighting
Karin Anderson, Lighting Programmer
Russel Royer, Draftsperson
Sarah Readman, Technical Consultant
Stuart Gardener, Creative Technologist

Marysa Finnie, Crew Chief

Crew
Josh Kettle
Lorraine Mills
Oscar Murphy
Kaleem Ali
Will Whitehead
Colin Osborn
Zoe Crook

Anthony “Spike” Morton, Lead Carpenter

Carpenters
Luke Stagg
Chris O'Driscoll
Fredrico Nobre
Tony Forrester
James Bromley
Archie Hands
James Hardwood
Jo Lathwood

Design Team
Sian Murphy
Ksenia Burnasheva
Athena Ross-Michaelides
Shanti Freed
Zoe Crook
Eppie Conrad
Nynoo Pereira
Eugenia Fiusco
Jonny Ross
Alize Speed
Denny Kaulbach
Chris Mckay

Scenic Team
Owain Nicholls
Ansis Kirmuzs
James Marlow

Production LX Team
Eren Celikdemir
Tom Begley
Ant Doran
Louis Pezet
Peter Adams
Ieuan Watkins-Hyde
James Dean
Martha Trendell
Michael Scott
Thomas Robson
Jonny Wilson

Tech Crew
Jacob Bruton
Sam Morris
Finley Shillabeer
Lee Silcock
Zoe Beeny
Sam Maxwell

Felix Barrett, Artistic Director

Producing and General Management
Sacha Milroy, Co-Excecutive Producer
Lucy Whitby, Co-Excecutive Producer
Sarah Georgeson, Senior Producer
Sophie Hewlett, Senior Producer
Lauren Storr, Senior Producer
Jay Loweth, General Manager
Jack Sterne, Deputy General Manager
Tim Levy, Commercial Producing Consultant
Swara Kadir, HR & Office Administrator
Issi Ladd, Producing Assistant

Communications & Creative Engagement
Ava Eldred, Head of Ticketing and Audiences
Georgia Figgis, Community & Creative Engagement Manager

Production and Buildings
Andrea Salazar, Head of Production
Gareth Potts, Building Manager
Dominique Bradley-Burke, Operations Manager

Finance
Dmitry Shipunov, Production Accountant
Judith Lamers, Finance Officer

Founded in 2000 by Felix Barrett, Punchdrunk has pioneered a game-changing form of theater which places the audience at the very heart of the action. Recently listed amongst the 50 most influential artists of the last 50 years (Sky Arts, 2022) alongside David Bowie, Sir Steve McQueen, and Vivienne Westwood, Punchdrunk disrupts the theatrical norm, creating worlds in which audiences can rediscover the childlike excitement of exploring the unknown.

Its iconic “mask” shows, which redefined the genre of immersive experiences, have been cited amongst the 40 creative moments that changed culture (Creative Review) and have found phenomenal success across the globe, with record-breaking productions established in the US, UK, and China. Sleep No More in New York played to sell out audiences for 14 years from 2011, and in Shanghai the show has been running since 2016, making it the longest running show in the city’s history. The Drowned Man: A Hollywood Fable broke the National Theatre’s box office records when it went on sale in 2013. Punchdrunk’s 2022 London production, The Burnt City, became the company’s longest-running show in its home city, coinciding with the opening of its first permanent venue at 1 Cartridge Place in Woolwich.

In 2024, Viola’s Room debuted in Woolwich, marking a bold shift from Punchdrunk’s signature mask performances. This intimate, barefoot sensory experience distilled two decades of the company’s immersive expertise, using binaural sound to create a deeply personal journey.

Alongside these landmark live theatrical experiences, Punchdrunk has taken its groundbreaking approach to cross-cultural collaborations in music, tech, fashion, and TV: from projects with Rihanna to Jack White, Louis Vuitton to Alexander McQueen, and HBO to Brad Pitt’s Plan B Studios—most recently with TV series The Third Day, starring Jude Law, Naomie Harris, Katherine Waterston, Emily Watson, and Paddy Considine, which included the Bafta-nominated live event The Third Day: Autumn: a 12-hour live episode, filmed in one continuous take.

Punchdrunk’s past theatrical works include The Drowned Man: A Hollywood Fable (with the National Theatre), The Crash of the Elysium (Manchester International Festival), The Duchess of Malfi (with ENO), Sleep No More (with the American Repertory Theatre, Boston, Mass.), It Felt Like A Kiss (with Adam Curtis and Damon Albarn, Manchester International Festival), Tunnel 228 (in collaboration with The Old Vic), The Masque of the Red Death (with Battersea Arts Centre), Faust (in collaboration with the National Theatre), and The Burnt City.

Shed Program Team

Alex Poots is a widely acclaimed arts and cultural leader who has built major new organizations from the ground up, and who has inspired established organizations to reshape their familiar approaches into more innovative, popular and culturally democratic programs.

Poots was appointed in 2015 as the founding artistic director and CEO of The Shed in NYC, following a decade creating, launching and leading Manchester International Festival (MIF) in the UK. At these organizations, as well at Park Avenue Armory in NYC, the Barbican Centre and Tate Galleries in London, Poots has conceived and developed new ways for arts organizations to realize their missions and visions—commissioning and presenting established and early-career artists and creatives across disciplines and regions, often in new collaborations, and welcoming a range of audiences of all backgrounds to discover their work. In 2023 Poots continued his role as The Shed’s founding artistic director and set up a new kind of production house called North Star Studio.

Poots has forged enduring and fruitful relationships with the artists and creatives with whom he works—from composers to pop artists, theater directors to filmmakers, writers to visual artists, technologists to academics. In the process, he has supported them to evolve artistic formats and realize ambitious projects, drawing large audiences in the process. By questioning established artistic structures and societal constructs, Poots works to bring together creative practices and audiences in new combinations—facilitating, originating, and promoting artistic invention, interdisciplinary practice, and transformative programs through the organizations he leads.

Art Installers provided by Corps Liminis

Niray Almonte
Jennie Caulfield
Lucy Colebrook
Michael Crew
Michael DeCaul
Eric Emerick
Ezra Feldman
Em Flaire
Dan Harding
Hana Jackson
Dylan Joyce
Leanna Keyes
Joe Laureiro
Alex Lee
Shahn Lewis
Carolyn Mraz
Jacob Olmedo
Darwin Pasantez
Aaron Philgence
Pablo Solano
Marie Ucci

Josh Galitzer, Head

Omar Ali
Andrew Bogwald
Jonathan Buscemi
Stefan M. Carrillo
Kevin Hughes
Alyson Paz
Jason Rea
Seth Snyder
Kieran Vaher
Slawomir Wloch

Riggers are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

Trevor Dewey, Head

Alexandra Christie
Lucas Blanchard-Glueckert
Robert McIntyre
James Parrish
Margaret Peebles
Zack Riccardi
Dana Spataru
Juniper Stuart
Brhiannon Yumei Tracey

Lighting employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

Ryan Moore, Head

Zachery Carrillo
Nate Dickson
Mark Iskander
Sean Lescznsky
Leo Martin III
Matt Michelson
Benjamin Peña
Kate Reif
Derek Stevenson

Audio employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

Accessibility

Wheelchair Access

A wheelchair-accessible track is available for the experience. For more information, please consult the Accessibility section of these FAQs. Please contact us in advance to discuss your needs and available options by emailing accessibility@theshed.org or calling (646) 455-3949.

Purchasing Tickets

The Shed’s online ticketing system includes the option to submit accommodation requests beyond the access points detailed here.

Contact Us

For questions or other requests, visit the Accessibility page, email accessibility@theshed.org, or call (646) 455-3494.

Thank you to our partners

The Scientific Innovation Partner of The Shed is

The Official Payment Partner of The Shed is

The official headphone partner of Viola’s Room is Bowers & Wilkins.

Generous support for projects at the vanguard of creative practice, including Viola’s Room, is provided by the Ajay and Ritu Banga Artistic Innovation Fund.

The creation of new work at The Shed is generously supported by the Lizzie and Jonathan Tisch Commissioning Fund and the Shed Commissioners.

Major support for live productions at The Shed is provided by the Charina Endowment Fund, with additional support from The Shubert Foundation, the New York State Council on the Arts with the support of the Office of the Governor, and the New York State Legislature.

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About Viola’s Room

Program Details

Entry Times

Presented by The Shed and Punchdrunk

About this production

What ticket options are available?

How do the time slots work?

Will I enter Viola’s Room with the people I book tickets with?

What happens if I arrive late?

What happens during the experience?

What can I bring into the experience with me? Are phones and cameras allowed?

Is Viola’s Room suitable for me?

Do I have to go barefoot to enter the experience?

What safety measures are in place once I’m in the experience?

What can I bring into the experience with me? Are phones and cameras allowed?

I have an access request. What should I do?

How far in advance should I make accessibility requests?

Where can I learn more about accessibility?

Creative Team

Punchdrunk Credits

Shed Program Team

Shed Production Credits

Accessibility

Wheelchair Access

Purchasing Tickets

Contact Us

Thank you to our partners