The idea is once you’re let loose on one of the floors of the hotel, you pick out a single character and pursue him or her (though you can switch any time you want), as the performer runs, dances and vaults all over the place. Dressed in drop-dead, Deco-era evening clothes, scanty lingerie or nothing at all, these characters include the Macbeths (of course), Macduff and his wife (who is conspicuously pregnant), Duncan (the king) and various witches and hotel employees. (Because the roles are mostly double-cast, I am not mentioning individual performers, but they are all lissome enough to make the audience look slow and dumpy.)

These jaded figures can be found in bedrooms, bathrooms, ballrooms, hospital rooms and nurseries getting dressed and undressed, doing the foxtrot, making every kind of love, killing one another and washing off blood. (The Macbeth mansion has many bathtubs.) Choreographed by Ms. Doyle, these activities are executed with tense balletic virtuosity by neurotic, anguished and gymnastic creatures, who climb the walls (I mean literally) in moments of high stress.

The knockout set pieces (and the detail in every room is remarkable) include a painterly banquet scene and an unnerving black mass sequence led by three ambisexual witches. The lighting is ravishingly crepuscular. The mood-matching sound design includes period pop recordings (“Goodnight Children, Everywhere,” “A Nightingale Sang in Berkeley Square”), techno music (but only for the witches) and swoony, suspenseful Bernard Herrmann scores for Hitchcock movies.

References to Hitchcock — the McKittrick is a nod to “Vertigo” — abound. (A character named Mrs. Danvers, an allusion to the Hitchcock film “Rebecca,” was in an earlier and slightly less spectacular incarnation of “Sleep No More,” which I saw last year in Brookline, Mass.) That director was the ultimate master of making us feel complicit in film’s invasion of private lives and ugly deaths. And it seems to me that sense of guilty enjoyment, translated into theatrical terms, is a large part of what Punchdrunk is trying to elicit here.

It can make you feel kind of shabby, watching other audience members rifling through a suitcase that Lady Macduff has left on a bed or reading a letter on the desk in Duncan’s sitting room. (It’s a thank-you note from the socially correct Lady Macbeth.) That doesn’t mean that you won’t follow their leads once they’ve moved on. As an advertising slogan for a tabloid newspaper used to say, enquiring minds want to know.

SLEEP NO MORE

By Emursive; directed by Felix Barrett and Maxine Doyle; design by Mr. Barrett, Livi Vaughan and Beatrice Minns; choreography by Ms. Doyle; sound by Stephen Dobbie; lighting by Mr. Barrett and Euan Maybank; costumes by David Israel Reynoso; production manager, Bradley Thompson. A Punchdrunk production, presented by Emursive, Randy Weiner, Arthur Karpati and Jonathan Hochwald, principals, in association with Rebecca Gold Productions and Douglas G. Smith, with Centaur Properties, Dave Kavanagh CWL, Tim Levy, Michael O’Malley, Kostas Panagopoulos, Madstone Productions LLC, Marco Olmi, Rachael Stone Olmi, Daryl Roth Productions, Dr. Philip and Gail Stone and True Love Productions LLC. At the McKittrick Hotel, 530 West 27th Street, Chelsea; (866) 811-4111, sleepnomorenyc.com. Through May 14. Approximate running time: 2 hours.

WITH: Phil Atkins (Duncan), Kelly Bartnik (Catherine Campbell), Sophie Bortolussi (Lady Macbeth), Nicholas Bruder (Macbeth), Ching-I Chang (Sexy Witch), Hope T. Davis (Bald Witch),John Sorensen-Jolink (Macduff), Stephanie Eaton (Nurse Shaw), Gabriel Forestieri (J. Fulton), Jeffery Lyon (Banquo), Careena Melia (Hecate), Jordan Morley (Boy Witch), Matthew Oaks (Porter), Rob Najarian (Malcolm), Alli Ross (Lady Macduff), Paul Singh (Speakeasy Barman), Tori Sparks (Agnes Naismith) and Lucy York (Matron).