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Spotlight on NYC Theater: the immersive “Sleep No More” has you follow the actors through the McKittrick Hotel

Chances are, you’ll leave “Sleep No More” at least a little dissatisfied and frustrated — it’s designed that way, to get you to come back — but it would be hard to deny that it’s anything but intoxicating. Part immersive theater, part installation art, this Off-Broadway production produced by the British company, Punchdrunk, began its run in New York in 2011, and it’s still running, often to sold-out shows. Spanning six stories of the complex called the McKittrick Hotel in Chelsea, you spend about three hours — or less, if you’re as unlucky as I was to be pulled out of it too soon — exploring an extremely elaborate set and following actors, racing from one room to the next, as they act out a story very loosely based on Shakespeare’s “Macbeth.”

Upon arriving at the McKittrick, and after checking all coats and bags, you’re sent down a twisting, barely lit hallway, until you reach the lounge where drinks are served and several bands will eventually play. From there, you’re handed a white mask and ushered into an elevator to be taken up to the top floor of the complex — that is, of course, assuming you aren’t the last one into the elevator, for that person is first deposited, alone, on a lower floor. The rules are laid out by a flirtatious guide: you’re free to explore, but you are not to utter a sound while you do it. Then, it begins.

CalShakes does “The Comedy of Errors”: Shakespeare’s play doesn’t get better than this

Even geniuses write dud plays — “The Comedy of Errors” is Shakespeare’s — but you’d be hard-pressed to find a better production of it than the current one at the California Shakespeare Theater in Orinda. As the flimsy but funny story of mistaken identities, thanks to two sets of identical twins, “Errors” is a precursor to Shakespeare’s later — and better — play, “Twelfth Night,” which CalShakes staged wonderfully in the winter. Starting with last year’s “Lady Windermere’s Fan,” probably Wilde’s weakest play, CalShakes has been making it a habit to stage early, lesser works by otherwise excellent playwrights. Don’t get me wrong: there are plenty of clever couplets and great, extended jokes in “Errors” — including a long-form one about a rather massive and spherical love interest for Dromio — but the characters are largely sketches, forgotten as quickly as the laughter they brought on stage.