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To reflect on the variety of immersive and interactive shows we've seen debut in 2024, we spoke to immersive creators, performers and writers from companies including COLAB Theatre, Phantom Peak , Deadweight Theatre and Sleepwalk Immersive to find out their favourite pieces of work from the year. The Manikins: A Work In Progress By Jack Aldisert, Deadweight Theatre June-November 2024 at CRYPT, Kingswood Arts and Studio 55 Photo: Marc Tsang When I first read the prototype script for The Manikins around this time last year, I was bowled over. It took several months and some revisions before it was possible to put it on at CRYPT, but it remains one of my favourite pieces of new immersive work ever. Owen Kingston, Artistic Director, Parabolic Theatre and Bridge Command Manikins is a shining example of how much small-scale immersive theatre can achieve. This show has more inventive ideas and novel approaches to immersing audiences than most shows with 6-8 figure budgets. The unique blurring of lines between the world of the play and the audience's reality makes the show gripping and inescapable, and the emerging gameplay offers a unique form of control that audiences can't experience in larger-scale productions. The Manikins uses its intimate nature as its greatest asset, focusing all of the production's attention on a singular audience member, firmly casting them as the driving force behind the narrative. Where bigger productions lean on a more anonymized approach to audience engagement (such as the masks in Punchdrunk productions, or casting audiences within a role like Phantom Peak or Bridge Command), Manikins examines each audience member's pre-existing identity and personality as a core focus of the experience. It allows the show a sense of focus and personalization that can't be found anywhere else. While it's hard to see how these techniques can be applied to a wider audience base, given time I'm sure that Jack Aldisert and Deadweight Theatre will find a solution that's just as inventive and original as their solo concept. I fully expect big things will be coming from this company in the future, especially as they expand into larger spaces and audience capacities. Danny Romeo , Experience Director, Phantom Peak A mind-blowing weird theatre experience, completely unlike anything else out there. Unparalleled emotional impact, all delivered by two actors and a stage manager in a simply furnished room. Cleverly constructed, thoughtfully delivered and quite literally mind-blowing. I can't wait to see what Deadweight get up to next. Katy Naylor, Voidspace So much of Jack's show was a knockout, but it's the repetition that really got me. I love repetition in art, particularly in music. The Manikins manipulated repetition so boldly that it gloriously fucked up everyone lucky enough to go. Nathan Ess, Muddled Marauders Very rarely do you find a show which successfully breaks your perception of what’s real and what is not. However, Jack and his team at Deadweight seemed to manage to do so with ease. I thought the performers were excellent and the simplicity of the set and tech allowed the fantastic writing to shine. From concept to execution, ‘The Manikins’ is one of the strongest pieces I’ve seen in recent memory and I look forward to seeing more creations from Deadweight. Sebastian Huang, Sleepwalk Immersive Bridge Command By Parabolic Theatre March 2024 - Present in Vauxhall Photo: Alex Brenner Bridge Command is an absolute delight. While it's amazing to see Parabolic's years of hard work pay off, the show itself is more than the sum of its parts and is a powerhouse production within the London industry. The set is gorgeous, the tech is impressive, and the premise of flying a spaceship excites my inner child to no end. But what stands out most to me is the effortless collaboration between players that the show inspires. Whether you've known everyone on your team for years or met for the first time minutes ago, Bridge Command's gameplay demands fluid teamwork. I've played the experience twice, each with different groups, and both times our teams started out as individuals trying to be the hero. But the game quickly sets you on the right track, requiring fluid communication between job roles and rewarding groups who support each other. Both of my teams bonded quickly over the course of the show, and we celebrated our wins and losses as a singular unit, which is an impressive achievement for any immersive production. The scope of the show, which boasts an expansive catalogue of unique missions and a progression system, also seems exciting, but I've yet to experience it myself. Parabolic surely have plenty more surprises in store. Here's hoping that their tenure in Vauxhall is a long one, because Bridge Command is an excellent entry point for new audience members into the immersive industry and could prove to be one of the most important productions in the London immersive scene. Danny Romeo , Experience Director, Phantom Peak The big-budget remake of 2019's magical string and sticky tape predecessor delivers a complete storytelling experience. As you operate stations in a spaceship and interact with performers, every word and every pixel work together to create an experience where your actions matter - but also receive a satisfying narrative - without seeing the joins. Absolutely thrilled to see this show back, with the budget it deserves and as strong as ever. Katy Naylor, Voidspace I think what was achieved in terms of not only tech, but world-building and audience agency allowed me to fall into the role of a comms officer with complete immersion. I found the show to be a good balance of theatre and gaming and with multiple spacecrafts and missions, the draw to return is definitely strong. Sebastian Huang, Sleepwalk Immersive Parabolic being the classic, brilliant Parabolic. A well-designed game given a slab of cash just made it feel so immersive. There was a moment in the med bay (which I don't think we were supposed to be using - sorry gang!) but the scanner just made me giggle with glee. Bertie Watkins, Founder/Director, COLAB Theatre The Key of Dreams By Lemon Difficult April 2024 - Present in Treowen, Wales. Photo: Lemon Difficult This 24-hour horror adventure delivers on every front with a deep storyline that develops hour by hour to a satisfying finale, intense acting from a committed cast and a highly immersive environment. Franco Milazzo, Critic, BroadwayWorld UK Almost overwhelmingly dense world-building and lore to be uncovered in this 24-hour immersive/puzzle/sleuth/weird experience set in a 17c Welsh country house While hardcore clue hunters will love whipping around the place in a frenzy of discovery, what I loved was the opportunity to really get to know characters, absorb the uncanny atmosphere in the bones of the house and throw myself into the action as darkness fell and things grew stranger. Katy Naylor, Voidspace This is what free-roaming immersive theatre should be. A long, carefully crafted, deep-worlded performance that is impressively easy to slip into. The piece is scaffolded by precise, complex, and apparently adaptive dramaturgy that keeps the experience manageable despite the often overwhelming amount of content and the difficulty of portraying Lovecraftian elements in live performance. The actors, though, are the centerpiece of this production. The impressively durational and flexible performances by actors who clearly care deeply about their characters and their relationships with the audience make this show special, and they will stick with us for a long time. Jack Aldisert and Dominika Uçar, Directors, Deadweight Theatre Viola's Room By Punchdrunk May - December 2024 at One Cartridge Place I know it's a cop-out choosing the biggest immersive company (and I think it probably is more of an indication of how little, in my limited opinion, shows came out this year) but I just loved the bit when there was a miniature city with mini moving lights. It was a stand-out moment for me this year when I literally couldn't help but shout - 'wow'. It was a special moment and showed you don't need big epic sets to make an impact (even though that moment probably cost more than an entire fringe show...) Bertie Watkins, Founder/Director, COLAB Theatre The lighting, sound, and set design were all stunning! This show was a wonderful reminder that you can create theatre and art just by creating an environment that feels truthful and grounded. Having no shoes brought me into the experience even more - it was a sensory masterpiece. Serena Lehman , Actor (The Manikins: a work in progress) The whole show felt like you were stepping into another world, the story, the soundtrack, the sensory element, everything was just perfect. Puck , Magician and Actor (Rhythm&Ruse) Phantom peak By The League of Adventure March - December 2024 in Canada Water Photo: Alistair Veryard Consistently the best immersive show in London with continuous bursts of invention and ideas throughout the year. Franco Milazzo, Critic, BroadwayWorld UK Phantom Peak is incredible! An open-world video game mixed with immersive theatre, the perfect recipe for a fun time. Each time I’ve been has been so fun and different, and the characters you meet and learn stories from are all a delight. Puck , Magician and Actor (Rhythm&Ruse) Horizon of Khufu By Excurio October 2023 - December 2024 at Westfield Stratford Photo: Excurio There's a long list of new shows I haven't yet made it to this year yet, but this free-roaming VR experience I did in New York (also in London) left an impression. It takes you on a dreamlike journey into an Egyptian tomb late at night, blending digital historical recreation with interactive storytelling. Simple in design and narrative, but expansive in a way I’ve rarely seen in location-based VR. By the end, you feel like you’ve truly walked/travelled on a real expedition, rather than just crossing a room or two, heightening immersion. And it oozes atmosphere—exactly how my inner child (and adult self) dreams of experiencing and understanding history. Jack Pirie, Director/Creative Director, Elvis Evolution , The War of the Worlds Immersive , Jetpack Odyssey The Great Murder Mystery By The Lost Estate March - September 2024 in West Kensington An incredible retelling of a much loved story, The Hound of the Baskervilles in a theatre dining experience that is best-in-class. The food was an experience in itself and blew my socks off. Honestly, every dish I was excited about before it even arrived at the table. The theatre is brilliantly written, directed & performed. Tom Shannon’s set design is first class and kept the surprises coming. Really was the best night at the theatre I had this year. Neil Connolly, Creative Director, Immersive Everywhere Fight Night By Ontroerend Goes October 2024 at Watford Palace Theatre Photo: Ontoerend Goes Exposing the flaws and hypocrisies of the democratic process through an audience-driven voting-based competition. While political statements were kept out of the picture, OG nevertheless exposed the flaws at the heart of the process that provided an unsettling lesson in the madness of crowds and what it means to 'take back control'. Katy Naylor, Voidspace La Boh è me By Bread and Bus Stop November - December 2024 at Safehouse 1, Peckham Photo: Bread and Bus Stop The immersive elements landed the story successfully even for audiences that normally don't connect with opera. Temperature, dynamic movement, spatial elements, and proximity with the performers all brought the audience into the story and created connections with the characters that were more intimate than in typical operatic performance practice. Hannah Gintberg-Dees, Director, Deadweight Theatre This Time (Travel) Will Be Different By Chloe Mashiter June 2024 at Theatre Deli Photo: James Lawson This was an enchanting hour of lo-fi high-concept interactive theatre. One performer (also the creator, the immensely talented Chloe Mashiter) ably led a tightly-packed room through a clever exploration of the logic of timeloops, with lots of time travel jokes (better ones than the clichés you may be tired of by now!). I came away with warm feelings and buzzy thoughts about time travel, and the emotional connections we make in the real world where we (usually) only get to do things once. Tom Black, Co-founder, Bridge Command  and Jury Games Where We Meet By Unwired Dance Theatre June 2024 at Theatre Deli Photo: Romain Tissot Using headphones, which allows performers to curate the soundtrack that they send to their free-roaming audience, Where We Meet allows us to understand the inner thoughts and be truly close to the characters. Katy Naylor, Voidspace Unfurl By Bubble Club Photo: Bubble Club Unfurl takes place in Room 2 of Bubble Club , an accessible club night in East London. Hosted by Tilley, Del and Isaac, it mixes art installation, Puffing and Wooling, improv, interactive performance, and open mic. It's immersive, interactive, and utterly unique - consistently the most joyous experience in London. Nathan Ess, Muddled Marauders A Quest For Rest By Ariella Stoian & Mushmoss Collective June 2024 at Theatre Deli Part-game, part-exhibit, part-theatre (my descriptors, not the creators), this was a lovingly-crafted and detailed exploration of energy management and chronic fatigue. It's the most effective example that I have yet encountered of the form of interactive theatre being used to explain concepts that are difficult to comprehend simply through reading or listening. It did all this while remaining charmingly light in tone, and gave me that feeling that immersive work is uniquely-placed to provide: empathy. Tom Black, Co-founder, Bridge Command and Jury Games Uwolnienie By Zenon Fajfer  and Kuba Kowalski Numerous dates throughout 2024 at Wrocławski Teatr Współczesny, Wrocław, Poland Photo: Filip Wierzbicki This was an immersive performance inside a proscenium theatre that turned the proscenium space into an immersive, non-traditional performance environment in a clever post-modern deconstruction of the theatre. A boundary-pushing, political challenge to the audience that never lost its sense of humour and delight. I'd never seen anything quite like it before. Dominika Uçar, Director, Deadweight Theatre A huge thank you to everyone who took the time to contribute to this article. For coverage of all the latest immersive experiences coming to London in 2025, follow us on Instagram , X  and BlueSky .

Photo: Grant Walker The much-loved Backyard Cinema has returned to London bigger, bolder, and more spectacular than ever with an all-new Christmas experience that promises to celebrate the festive season in true West End style.  Celebrating the nation’s most loved festive films, from  Elf  and  Home Alone  to  Love Actually  and  The Holiday , this year’s production transforms the movie-going experience into a full-scale theatrical event; a Christmas spectacular that fuses film, music, and live performance into one unforgettable celebration. Photo: Grant Walker Directed by acclaimed Creative Director Stuart Glover ( Speakeasy UK Tour & West End featuring Strictly stars Karen and Gorka, Madagascar The Musical, The SpongeBob Musical, We Will Rock You, Footloose) , this year’s production transforms the movie experience into a full-scale theatrical event; a Christmas spectacular where live music, performance, and festive nostalgia set the stage before audiences sit down to enjoy their favourite Christmas films. Running until 31st December, Christmas at Backyard Cinema will once again transform a Victorian warehouse space, this time on Tanner Street, London Bridge Backyard’s most central London location to date and transform it into a breathtaking Enchanted Forest Theatre: a hidden world of festive wonder and performance, just moments from Borough Market, Maltby Street and Tower Bridge. Photo: Grant Walker This is Christmas reimagined as pure spectacle. From the moment audiences step inside, they’ll be immersed in a living, breathing festive show — free to wander through scenes of wonder brought to life by West End stars and festive acrobats. The cast includes AJ Jenks ( The Buddy Holly Story, Saturday Night Fever, Million Dollar Quartet ), Joel Priest ( Between the Sheets ), Eve Maidwell ( A Christmas Carol, Connections The Musical ), Aaron Bladen ( Cinderella, Sappho, The Three Little Pigs ), Madeleine Wilshire ( The Grimoire Diaries, Alice in Wonderland, The Vilebites ), and viral sensation Matt Kent ( @iammattkent  – “Turning Classical Music into Pop Songs”). Expect festive cabaret, live music, and secret theatrical moments unfolding before the film even begins. Across three spectacular spaces, guests will encounter world-class vocals, spontaneous performances, and atmospheric bars—all culminating in an unforgettable cinematic finale. Photo: Grant Walker In the Christmas Cabaret Room, expect performances of classic Christmas hits delivered by a talented West End cast of singers and musicians, with vibrant table service that brings the festive spirit roaring to life. Inside The Enchanted Forest, a spellbinding indoor world awaits, made up of towering trees, 20 tonnes of real bark underfoot, and surprise performances around every corner. Tucked among the trees, a cosy hidden cabin and themed bars await, creating the ultimate festive retreat. Finally, guests are led in a joyful carol-singing procession to The Cosy Forest Cinema, a retro-style theatre where it snows before every screening, marking the perfect crescendo to this theatrical journey through Christmas magic. Photo: Grant Walker Creative Director Stuart Glover says: We’re creating a truly theatrical experience, a celebration of Christmas that combines the storytelling of cinema with the joy and energy of live performance. It’s designed to surprise, delight, and completely immerse audiences in the spirit of the season. Founder and CEO of Backyard Cinema, Dominic Davies, adds: It’s been three years since our last Christmas show in London, and we knew we had to come back with a bang. We have a brand-new venue, a brand-new show, and a host of magical surprises waiting to be discovered. This isn’t just a return. It’s a reinvention, and we can’t wait to share it with you. Photo: Grant Walker This year’s film line-up features beloved Christmas favourites, each packed with nostalgia, laughter, and heart: Elf (2003) / Home Alone (1990) / Love Actually (2003) / How the Grinch Stole Christmas (2000) / The Holiday (2006) / The Muppet Christmas Carol (1992) / The Nightmare Before Christmas (1993) / Miracle on 34th Street (1994) / The Grinch (2018) / It’s a Wonderful Life (1946) . With five screenings daily from midday to 8 pm, including family-friendly matinees, Christmas at Backyard Cinema offers something for everyone - from families and couples to friends and festive work socials. Every ticket includes the full cinema experience plus an hour of live, immersive theatrical entertainment from the moment you arrive - the ultimate way to kickstart Christmas in style. Christmas at Backyard Cinema runs until 31st December 2025 (Closed on 25th and 26th December) at 49 Tanner Street near London Bridge. Tickets are priced from £26.50 and can be booked via backyardcinema.co.uk

Photo: Nina Photography Anyone who's engaged with London's immersive theatre scene over the last decade will know that often, shows pop up in unexpected places. From railway arches and church basements to disused fire stations and factories, it's typical to find yourself venturing to corners of the city you had no idea existed in pursuit of new experiences. A stone's throw from Wembley Stadium, in the middle of a nondescript industrial estate, sits one such space - a former car garage - that's home to a theatre company born out of the world's best-known immersive creators, Punchdrunk. Founded in 2008 by Peter Higgin, Punchdrunk Enrichment was established to bring the practices and methods used by Punchdrunk to families, schools, and communities through public performances and workshops. Past productions from the charity, which now operates as a separate entity from the Woolwich-based immersive juggernaut, include The Lost Lending Library and Enitan's Game, which ran at their Wembley Park venue throughout Summer 2024. Their latest production, Fireside Tales, written and directed by Steve McCourt (the charity’s incoming Artistic Director), is aimed at children aged 7-11 and inspired by the age-old practice of people getting together to exchange stories as the nights begin to draw in. The hour-long show, which features big-hearted performances, stunning set design and plenty of opportunities for younger guests to get involved, is a love letter to the power of storytelling, our imaginations, and the importance of community. It's also utterly magical for children and parents alike. Photo: Nina Photography With the show beginning on the street outside the Punchdrunk Enrichment Store, audiences first meet an apologetic but nonetheless welcoming Ali (Amari Harris), who emerges from the store's front door with a bucket and mop in hand. A recent delivery has flooded the store, and he's only just got the last of the water out moments before a brave, young audience member knocked on the door. After being ushered inside, guests are introduced to Cosima (Rebecca Ella Clark), the store's second custodian, who works alongside Ali to catalogue and archive every story the store takes delivery of into one of four elemental categories. While air, earth and water stories arrive at regular intervals, accompanied by gusts of wind and the occasional leak, the volatile and generational fire stories are far more elusive. As Cosima and Ali tell the audience more about some of the stories they've recently received, placing large leather-bound books on the room's central table, younger members of the audience are gently invited to contribute and become part of the story. Cosima and Ali speak to them one-on-one, prompt them to answer a ringing rotary phone (which is unknowingly held up upside down, to the delight of the adults in the room), and, amongst other interactions, encourage a child who was given a blue feather earlier in the show to recount their story about space peacocks for the rest of the group. These interactions all reinforce a key idea laid out early on by Ali - that everyone has a story to tell and a right to be heard. Soon, word of an unexpected story delivery comes through, and it’s all hands on deck to receive the store’s first fire story. Some excellent lighting design from Sarah Readman depicts its arrival, first igniting a candle overhead before swiftly jumping around the room from light source to light source in quick succession. Photo: Nina Photography As anyone familiar with Punchdrunk Enrichment's sister company will expect, the set design (courtesy of designer Mydd Pharo) and attention to detail throughout Punchdrunk Enrichment's Store is exceptional. Floor-to-ceiling shelves are packed to the brim with trinkets and household items, all accompanied by handwritten place cards indicating their date of arrival, place of origin and history. Huge piles of papers, cassettes and newspapers are scattered throughout the space. In the Store’s entrance hallway, there's a map of the area covered in criss-crossing pieces of string, trying to track the movement of Haggins, an adventurous local cat. Fittingly for a space that deals in story-building materials, every item in the space seemingly has a tale to tell. This detailed design continues as the audience moves through to the show's second space - an overgrown yard behind the store, complete with a makeshift wooden storage hut, first-floor terraced flat windows overlooking the space and an abandoned car surrounded by foliage and discarded tools. It's in this space, with the audience all resting on tree stumps and benches surrounding a central fire pit, that they collectively try to tempt the fire story down from an overhanging lamp. Of course, the best way to put a nervous story at ease is to share stories of our own. Ali recounts a childhood memory of scoring the winning goal in a high-stakes five-a-side game to the soundtrack of cheers and boos coming from Wembley Stadium. Cosima recalls how, as a child, she hurt herself trying to stoke a fire and later lied about how she injured herself. While it's no doubt a cautionary tale, speaking to the danger of untruthfulness and how lies can quickly spread, it's told with such care and vulnerability that it never feels preachy. Later in the show, the audience gets a chance to contribute their own stories, being given a piece of paper and charcoal to sketch out what the idea of 'home' means to them and encouraged to share it with those sitting close to them. While it's a small and personal moment of contemplation and connection for the audience, within the wider context of the show, it carries a surprising amount of weight. Photo: Nina Photography Adults without children who are keen to try and scratch that Punchdrunk itch without having to hide from guards in a dark corner of the company's Woolwich home as part of LANDER 23 can attend one of several 'grown-ups only' sessions on select dates across December and January. The content of the show remains the same for these performances, but they include a Q&A with some of the show's creative team and a post-show drink as part of the experience. With a message that'll stay with audiences, beautifully detailed sets and generous performances from its two-strong cast, Fireside Tales is a wonderfully realised piece of immersive theatre that's been created with the utmost care. Atmospheric, reflective and magical, it's also a poignant reminder that giving each other the space to share our stories can turn that spark inside all of us into a flame, if we continue to tend to it. ★★★★ Fireside Tales run at Punchdrunk Enrichment Stores in Wembley Park until 4th January 2026. Tickets to all-ages shows are priced from £15, and can be booked via punchdrunkenrichment.org

From boozy immersive dive bars, to fantastical Christmas adventures and festive three-course meals, here are our recommendations for the best immersive experiences in London this side of New Year's... With the nights drawing in and the temperature beginning to drop, Christmas is fast approaching. While London has no shortage of festive activities, you might be on the lookout for something a bit more interactive and immersive. We've made a list, checked it twice, and these are our picks of London's best immersive experiences this Christmas. From family-friend festive adventures to immersive three-course meals and adults-only parties with Santa, these are the capital's top immersive offerings this Christmas... HUMBUG! Immersive Christmas Dive Bar Photo: Grant Walker Returning for 2025 after a second sold-out festive season, HUMBUG is an immersive adults-only Christmas dive bar experience. Split into two halves, with live music, festive DJs and singalongs following the 2-hour main show, guests need to try and help Santa regain their Christmas spirit in his favourite watering hole alongside a cast of characters including Daphne, the disgruntled dive bar waitress, Johnny, the leader of the in-house band, and Howard the mailman, who's misplaced all of the letters addressed to Santa after one too many cocktails. Expect live music, Christmas cabaret sing-alongs, immersive storytelling, and hidden experiences throughout the venue. Throughout the night, guests can sip on festive tipples from HUMBUG’s ‘Naughty or Nice’ cocktail menu and enjoy festive-themed street food from Bang Bang Burger. Photo: Grant Walker Santa’s been working overtime for centuries and he’s hit breaking point so, of course, he’s back at his favourite dive bar where Christmas cheer (and booze) is available on tap. Along with some of Santa’s closest friends, guests will be tasked with bringing their Christmas A-game, ready to help the big man get his groove back and, as long as they do, everyone will be rewarded with an epic party complete with confetti canons, merriment and festive surprises.  Photos: Grant Walker 📍 Waterloo 💰 From £22.00 🕒 18th November - 31st December 2025 🎟️ Book via feverup.com PHantom Peak's Wintermas Photo: Alistair Veryard Hot on the heels of its excellent Halloween season , the town of Phantom Peak is once again getting a festive makeover for its annual Christmas offering, Wintermas. Continuing the show's ongoing story, this festive edition of the platypus-obsessed mining town will have 11 brand-new trails for guests to complete. As ever, last year's Wintermas saw the return of demigod Father Platmas, who vowed to take down JONACO following their imprisonment in a make-shift jail during Phantom Peak's first Wintermas. While the specifics of exactly what's in store for the town this Wintermas are still under wraps, it's safe to assume that the town will be on high alert for the return of the man in purple. To finish all the trails on offer at Phantom Peak, you'll need at least three visits, but a one-off trip is still a great experience, with the various storylines you complete throughout the 4-hour-long experience all getting wrapped up during the closing ceremony. There's also a string of additional activities on offer, including carnival games, a visit to Father Platmas' Grotto to spin the wheel (Don't land on 'Death'!) and the Wintermas Puzzle Hunt for those looking to pack their visit full of extra festive cheer. Photos: Alistair Veryard Step into Phantom Peak's one-of-a-kind Wintermas celebrations, where festive fun meets the usual adventures and mystery of town. Join Mayor Pocket, Dr Winter, and all of your favourite townsfolk as we present a season full of surprises, schemes, shivers, and secrets - a season where the town itself faces the biggest challenge yet. 📍 Canada Water 💰 From £30.00 🕒 21st November 2025 - 18th January 2026 🎟️ Book via phantompeak.com The Nutcracker Noir - Immersive Dining Experience Photo: Matt Crockett Taking over Protein Studios in Shoreditch across November and December, The Nutcracker Noir is the latest production from Secret Theatre and DesignScene. The show combines world-class performances, mischief and theatrical storytelling with a decadent three-course meal, put together by Feast & Fable's Jenny McNeill (Gingerline, Fat Duck). Inspired by Tchaikovsky’s 1892 ballet, The Nutcracker Noir follows the story of Clara, an orphan raised in a fantastical world, as she searches for her long-lost father and finds herself directing her own wild adaptation of The Nutcracker in her quest to save her father’s theatre. Before guests take their seats, there are five interactive spaces filled with captivating performances, hidden surprises and extraordinary characters, and with a cast made up of West End talent with shows like Hamilton, Wicked and Cabaret on their CVs, the show boasts to have some top-tier talent on stage. Behind the scenes, the show is co-directed by Richard Crawford (Secret Theatre's SE7EN / The Great Gatsby) and Gary Lloyd (who's previously worked as the choreographer on shows such as Thriller Live and Heathers: The Musical). The Nutcracker Noir is an epic adaptation of a classic Christmas tale. Guests will be transported into a fantastical, wonderful world with an outrageous dining banquet at its core. Move through a series of immersive worlds to discover the newly created Christmas story of The Nutcracker Noir before taking your seat as the culinary experience unfolds in tandem with the show. Explore and experience rooms, hidden surprises and interact with stunning characters, all designed to bring the adventure to life. Immersed in a vibrant and jubilant feast that intertwines with the action, providing a festive extravaganza of dance, music, food and one hell of a Christmas story. Photos: Matt Crockett 📍 Shoreditch 💰 From £48.00 (Bar Seating) 🕒 25th November - 21st December 2025 🎟️ Book via feverup.com The Great Christmas Feast - Immersive Dining Experience Image: The Lost Estate The Great Christmas Feast is one of London's immersive dining mainstays. Now entering its eighth year, the show has quickly become many people's annual tradition, and for good reason - this immersive production of A Christmas Carol is famed for its world-class storytelling and excellent menu. It's Christmas Eve 1894, and Charles Dickens is opening the doors to his home to guests... Expect to tuck into a three-course meal designed by Ashley Clarke that's described as a 'love letter to Christmas in Victorian London', with choices that include either Rare Breed Beef or Hot Smoked Salmon for starters, Roast Duck Leg or a Pithivier of Shitake & King Oyster Mushroom for main. The dessert is, of course, Christmas Pudding, but alongside it there's a selection of Victorian-inspired cocktails on offer, including the legendary Smoking Bishop, Pear Tree Cup, and Devonshire Punch. David Alwyn (Secret Cinema, Peaky Blinders: The Rise, Jeff Wayne’s War of the Worlds: The Immersive Experience) stars as Charles Dickens in the immersive show that's seen critical acclaim and sold-out performances for the last seven years. Christmas Eve. Charles Dickens – writer, performer, occasional magician – is preparing his famous annual feast at his home near Regents Park. This year is very different. Charles has spent months stalking the City at midnight ; locked in his study, weeping and gaffawing at who knows what ; ushering  vast theatrical machines  into his home amid the pre-dawn light. Tonight, you and his other guests will discover why. T onight, ‘ A Christmas Carol’, the greatest festive tale ever told, will be born. Video: The Lost Estate 📍 West Kensington 💰 From £139.50 🕒 14th November 2025 - 4th January 2026 🎟️ Book via christmasfeast.thelostestate.com Wundrful World of Christmas Photo: Wundrful World of Christmas Created by immersive entertainment company Wundr , and produced in partnership with Live Venture Group, Wundrful World of Christmas comes direct from Australia for its UK debut. The experience invites guests on a 50-minute walk-through, theatrical journey to the North Pole, blending rich storytelling, live performance, dynamic animated content, projection screen technology, detailed sets and sensory design to create a magical and interactive celebration of the season. Children and their grown-ups journey through a series of fantastical rooms, guided by a cast of animated characters and real-life actors. They have the chance to meet Santa’s hard-working elves, sort magical mail, and travel skyward in a simulated lift ride to explore a snowy ‘Wundrland’, and enjoy festive tales with Mrs Claus in her cosy cottage. Rounding things off, there's a heart-warming encounter and photo opportunity with Santa Claus himself included in the price (No upselling! It's a Christmas miracle!). Perfect for young believers aged 3 to 8 and their families, Wundrful World of Christmas is a celebration of imagination, wonder and joy, and offers guests a brand-new way to experience the magic of Christmas this festive season. Wundrful World of Christmas is now coming to the UK for the very first time. This 50-minute-long immersive, festive adventure will open in a specially selected venue just moments from Borough Market, transforming one of London’s most historic neighbourhoods into a world of Christmas magic. Children and their grown-ups will journey through a series of fantastical rooms, guided by a cast of animated characters and real-life actors. They will have the chance to meet Santa’s hard-working elves, sort magical mail, and travel skyward in a simulated lift ride to explore a snowy ‘Wundrland’, enjoy festive tales with Mrs Claus in her cosy cottage, and finish with a heart-warming encounter and photo opportunity with Santa Claus himself, a family moment to treasure. Photos: Wundrful World of Christmas 📍 London Bridge 💰 From £22.50 🕒 8th November - 24th December 2025 🎟️ Book via wundr.live/london Fireside Tales Image: Punchdrunk Enrichment The second show to launch at Punchdrunk Enrichment's new permanent venue in Wembley Park, Fireside Tales, is aimed at children aged 7-11, and invites guests to step into a magical world to help preserve the long-held tradition of oral storytelling. As you'd expect, there'll be meticulously crafted sets, plenty of interaction, and the lion's share of the cast's attention is given to younger audience members. Fireside Tales is written and directed by incoming Artistic Director of Punchdrunk Enrichment Steve McCourt with additional material devised by the company. The cast (who will rotate two roles in the production) are Siddiqua Akhtar (A Good Girl's Guide to Murder, BBC/Netflix), Rebecca Clark (who has performed recently with Frantic Assembly and Complicité), Amari Harris (who has collaborated with venues including the Old Vic and Half Moon Theatre in his work as a storyteller and drama facilitator) and Alex Stedman (The Lost Lending Library, Punchdrunk Enrichment; Murder On The Orient Express, UK & Ireland Tour). While Punchdrunk Enrichment was originally founded in 2008 to take the innovative practices of immersive jugganauts Punchdrunk into schools, community and family settings, they became an independent charity in 2021, and have since gone on to create a series of shows, including Enitan’s Game, a production for 7-11 year olds and their family which opened their venue in Brent and Against Captain’s Orders, a family show created in partnership with the National Maritime Museum. Fireside Tales is a new immersive experience for children aged 7-11 and their grown-ups. Step into a magical world where stories flicker like flames and imagination keeps them burning bright. For thousands of years, we have gathered to share tales around the fire. But this tradition is fading, and many stories are at risk of being lost. When a new story arrives — faint as an ember, not brave enough to be told — it needs your help to be heard. Developed with schools, this interactive adventure encourages you to draw, write and share your own stories. Without your care, the fire might fade, be forgotten or take on a dangerous new form. This is a show about the stories we tell, the ones we pass down, and the ones we forget — and what happens when we take the time to listen. Photos: Nina Photography 📍 Wembley Park 💰 From £15.00 🕒 6th December 2025 - 4th January 2026 🎟️ Book via punchdrunkenrichment.org.uk A Merry Misrule Image: Battersea Arts Centre/Wild Rumpus Following the success of last year's family-focused immersive offering, The Holly King and The Oak King, Wild Rumpus returns to Battersea Arts Centre with their latest immersive show, A Merry Misrule. In this brand-new show, audiences will be invited to enter a magical world, venturing through an immersive, theatrical trail, meeting new characters to learn about Yuletide traditions from across Europe. Audiences aged 3+ will be taken on a journey to tackle unruly festive folklore characters that have run amok and restore peace and joy to the holiday season. Alongside A Merry Misrule, Santa is also setting up shop in his very own Grotto at BAC from 6th to 24th December, where little ones can share their Christmas wishes, get their name added to the nice list and receive a gift from the main man himself, creating lasting memories for the whole family at the most wonderful time of the year.  After last year’s five-star festive performance, The Holly King and The Oak King, award-winning immersive arts creators Wild Rumpus return to Battersea Arts Centre with a new family adventure. Across Europe, mischievous Yuletide traditions have run riot, and it’s up to YOU to save Winter from chaos. Guided by the rousing ‘Resistance Rabbit’, wander through enchanted lands and meet characters intent on causing disruption to the most wonderful time of the year. Can you join the mission to bring harmony back to the holidays? ​ Photo: Ali Wright 📍 Clapham Junction 💰 From £15.00 🕒 29th November - 24th December 2025 🎟️ Book via bac.org.uk Christmas at Backyard Cinema Photo: Grant Walker Celebrating the nation’s most loved festive films, from  Elf  and  Home Alone  to  Love Actually  and  The Holiday , this year’s festive edition of Backyard Cinema transforms the movie-going experience into a full-scale theatrical event that fuses film, music, and live performance. Running until 31st December, Christmas at Backyard Cinema has transformed a Victorian warehouse space, this time on Tanner Street, London Bridge, into a breathtaking Enchanted Forest Theatre: a hidden world of festive wonder and performance, just moments from Borough Market, Maltby Street and Tower Bridge. Expect festive cabaret, live music, and secret theatrical moments unfolding before the film even begins. Across three spectacular spaces, guests will encounter world-class vocals, spontaneous performances, and atmospheric bars—all culminating in an unforgettable cinematic finale. Backyard Cinema returns to London bigger, bolder, and more spectacular than ever with an all-new Christmas experience that promises to open the festive season with a bang!  You’ll get to roam freely through the Enchanted Forest and enjoy an hour of immersive entertainment across multiple rooms made up of live music, Christmas Cabaret, festive bars, cosy seating areas and surprise performances. All topped off by a screening of your favourite festive movie.  Photo: Grant Walker 📍 London Bridge 💰 From £26.50 🕒 26th November - 31st December 2025 🎟️ Book via backyardcinema.co.uk For the latest news and updates on all things immersive in London, follow us on Instagram  🎅

Backyard Cinema's festive film season near London Bridge invites audiences to step into a wonderfully themed winter wonderland before screenings of Christmas classics. Photo: Grant Walker Christmas at Backyard Cinema is the latest festive offering from long-running 'alternative cinema experience' company Backyard Cinema. Previous events from Backyard Cinema have seen them take over spaces within venues such as Mercato Metropolitano, Winter Wonderland and Camden Market, but they're perhaps best known for their much-loved Romeo + Juliet live cinema experience, which sees Baz Luhrmann's 1996 cult classic screened alongside performances from a live choir and band. For this Christmas season, they've taken over the ground floor of 49 Tanner Street (a venue which is also home to The Magician's Table ) for a month-long residency of enhanced festive film screenings with five showings a day, running until 31st December. As a company, Backyard Cinema has always included light immersive elements in its pre-shows, with everything from Miami Beach hotels and intergalactic starships to remote abandoned churches previously featuring in seasons of years gone by. This festive run has scaled up its immersive offerings into a fully-fledged experience in its own right. Lasting roughly one hour, Christmas at Backyard Cinema's pre-show gives guests the freedom to explore the venue at their leisure, discover hidden areas and enjoy live performances from a troupe of talented musicians and several routines from an aerialist before heading into a screening of festive favourites complemented by a flurry of indoor snow as the opening titles begin. Photo: Grant Walker Entering via the Christmas Cabaret Room, guests are immediately greeted by live performances from The Mistletoes (AJ Jenks, Madeline Wilshire and Matthew Kent) on a circular stage adorned with mistletoe and wrapped presents in the middle of the space. The room, while large enough to accommodate a good percentage of each screening's audience, maintains an intimate and cosy feel thanks to the cabaret-style seating and clear sightlines throughout. The trio performs an impressive number of classic Christmas songs accompanied by acoustic guitar, piano and saxophone across the hour, skilfully covering everything from Fairytale of New York and Feliz Navidad to Driving Home for Christmas. While their opening songs have a fairly laid-back feel as people still arrive and settle in, the energy of their performance ramps up throughout, culminating in a medley of Christmas songs that has The Mistletoes doing a lap of the space with the bar staff in tow, clapping and cheering just ahead of audiences being ushered into the screening. Thanks to strong performances across the board, the upbeat atmosphere and table service being available through the Christmas Cabaret Room, there's a case to be made for settling down and staying put for the entire pre-show, but there's far more to discover deeper inside the venue... Photo: Grant Walker Hiding between two fairly nondescript doors in the corners of the Christmas Cabaret Room lies The Enchanted Forest, which is home to the most 'immersive' parts of Christmas at Backyard Cinema's pre-show. After passing through a tunnel of fir trees, guests emerge into a wintry woodland-themed space. With a thick layer of bark scattered on the floor and moody, blue lighting throughout, it's the far more atmospheric and Instagrammable of the pre-show's two spaces and benefits from some excellent theming, with cherub statues and several cosy nooks hidden amongst the space's towering foliage. In the centre of the forest sits a free-standing aerial hoop, which plays home to several impressive performances from an aerialist (Jessica Catherine/Ellen James) that see them contort and balance on the hoop as it spins, as well as routines with hula hoops on a smaller stage elsewhere in the main space. Nestled amongst the trees that line The Enchanted Forest is also a second (much quieter) bar, a two-tier seating area with heaters that overlooks the aerialist's performance area, and a recreation of a homely, decorated living room, which hosts members of The Mistletoes for intimate solo performances. With the pre-show's four-strong cast all working pretty flat out throughout the hour-long experience, there's rarely a moment when there isn't something going on somewhere inside the venue, but as is often the case with family-focused experiences, it's a dice roll as to whether or not the pre-show will offer enough to keep younger visitors enthralled for its duration. Photo: Grant Walker While there's certainly no shortage of places across the capital screening films like Home Alone, Love Actually, and The Grinch throughout December, this run of screenings at Backyard Cinema goes some way to elevating the movie-going experience into something more engaging, elaborate, and most importantly of all, more festive. Those hoping for Backyard Cinema's festive offering to have a storyline or proper interactions between the show's performers and audience may find themselves disappointed, with the pre-show focusing purely on creating a Christmassy atmosphere. With that goal in mind, however, it achieves what it set out to do in spades and offers an experience far more festive than turning up at your local Cineworld and sitting through 30 minutes of adverts before the film even begins. Given the kind of experiences we typically cover on Immersive Rumours, we'd love to see Backyard Cinema build upon its tried-and-tested format more in the future and create an experience with a proper narrative and deeper audience interaction, but as a light-touch, family-focused experience for the holiday season, it ticks enough boxes to make it a worthwhile visit if you're looking to enjoy a Christmas film away from the comfort of your sofa this festive season. ★★★ Christmas at Backyard Cinema runs until 31st December 2025 (Closed on 25th and 26th December) at 49 Tanner Street near London Bridge. Tickets are priced from £26.50 and can be booked via backyardcinema.co.uk

Photo: Nina Photography New production photography has been released today, giving a first look at the world premiere of Punchdrunk Enrichment’s Fireside Tales, an enchanting interactive adventure for children aged 7-11 and their grown-ups, running at Punchdrunk Enrichment Stores in Wembley Park, Brent, from 6th December 2025 to 4th January 2026. Photo: Nina Photography Fireside Tales is written and directed by incoming Artistic Director of Punchdrunk Enrichment, Steve McCourt, with additional material devised by the company. The cast (who will rotate two roles in the production) are Siddiqua Akhtar  (A Good Girl's Guide to Murder, BBC/Netflix; Tartuffe, Birmingham Rep), Rebecca Clark  (who has performed recently with Frantic Assembly and Complicité),  Amari Harris (who has collaborated with venues including the Old Vic and Half Moon Theatre in his work as a storyteller and drama facilitator) and Alex Stedman  (The Lost Lending Library, Punchdrunk Enrichment; Murder On The Orient Express, UK & Ireland Tour).   Photo: Nina Photography The creative team includes design by Mydd Pharo (who has designed and directed works for WildWorks, Kneehigh, Shakespeare’s Globe, Royal Court, National Theatre and Young Vic), costume design by Melissa Simon-Hartman ( who has collaborated with global icons including Beyoncé and Doja Cat, and whose work has been featured by artists such as Little Mix, Stefflon Don and Wizkid, and appeared in Harper’s Bazaar, VOGUE and GQ), lighting design by Sarah Readman (whose credits include Enitan’s Game, Punchdrunk Enrichment; The Glass Menagerie, Yard Theatre and The Burnt City, Punchdrunk - as Lighting Associate) and sound design by Dominic Kennedy  (whose credits include Enitan’s Game, Punchdrunk Enrichment; God’s Dice, Soho Theatre; You Stupid Darkness, Paines Plough). Photo: Nina Photography Fireside Tales is a show about the stories we tell, the ones we pass down, the ones we forget and what happens when we take the time to listen. Audiences are invited to step into a magical world where stories flicker like flames and imagination keeps them burning bright. Developed with schools, Fireside Tales encourages young audiences to draw, write and share their own stories. Fireside Tales run at Punchdrunk Enrichment Stores in Wembley Park until 4th January 2026. Tickets are priced from £15, and can be booked via punchdrunkenrichment.org

Photo: NEON/World Heritage Exhibitions NEON in partnership with Egypt’s Supreme Council of Antiques and the Egyptian Museum has announced that Ramses and the Pharaohs’ Gold, a spectacular international exhibition celebrating the reign, power, and legacy of Ramses the Great. Opening 28th February 2026, this major cultural event will be exclusively hosted at NEON at Battersea Power Station as part of its global tour following acclaimed runs in Paris, San Francisco, Sydney, and Tokyo. Ramses and the Pharaohs’ Gold marks a cornerstone moment in the area’s cultural expansion and is anticipated to be one of London’s most unforgettable exhibitions of 2026. Photo: NEON/World Heritage Exhibitions Featuring 180 priceless artefacts and opulent treasures from the reign of Ramses and ancient Egypt, including ornately carved sarcophagi, animal mummies, magnificent jewellery, stunning royal masks, and exquisite amulets the exhibition features many objects that have never before left Egypt. Visitors will encounter the original wooden coffin that once held Ramses II’s mummy as one of the exhibition highlights, offering an extraordinary connection to history. Over 3,000 years old, all of the artefacts in Ramses and the Pharaohs’ Gold have come from museums and historical sites in Egypt and are on loan to the exhibition from Egypt’s Supreme Council of Antiquities. Through immersive galleries and state-of-the-art storytelling, visitors will step into the extraordinary world of King Ramses II, widely known as Ramses the Great. Part of the 19th dynasty, Ramses II ruled Egypt for nearly 67 years and is celebrated as the mighty warrior-king who helped define the height of Ancient Egyptian civilisation. Photo: NEON/World Heritage Exhibitions Known for his extensive monument-building, military strategy and diplomacy, and a vast dynasty of more than 100 children, Ramses remains one of history’s most iconic pharaohs. The exhibition also features an immersive virtual reality experience, transporting visitors deep into Ramses’ legacy from the resplendent Tomb of Queen Nefertari to the monumental temples of Abu Simbel. Ron Tan, Group CEO of NEON, said: We are truly honoured to present Ramses and the Pharaohs’ Gold at NEON at Battersea Power Station. At a time when the world is celebrating the opening of the Grand Egyptian Museum, this remarkable experience offers a timely and extraordinary journey into one of humanity’s greatest civilisations. By uniting priceless artefacts with immersive storytelling, we bring the wonder of Ancient Egypt to life in a way audiences have never experienced before. As Battersea continues its cultural evolution, we look forward to welcoming London to discover the richness, legacy, and enduring fascination of Ramses the Great through this world-class experience. Dr. Mohamed Ismail Khaled, Minister of Antiquities of Egypt, said: Ramses the Great was a remarkable pharaoh who helped shape the legacy of Egypt. Many of these treasured artefacts have never travelled outside the country before, and London is about to witness something extraordinary. This exhibition provides a rare opportunity for people to come face to face with the world of Ramses in all its glory before they are returned to Egypt and placed at the newly opened Grand Egyptian Museum. It is my hope that by discovering the story of Ramses, audiences will be inspired to explore Ancient Egypt further and to deepen their appreciation for its enduring cultural importance. Photo: NEON/World Heritage Exhibitions Ramses and the Pharaohs’ Gold opens at NEON at Battersea Power Station on 28th February 2026. Tickets are priced from £ 24.90 for Adults, with discounts available for children and seniors. To find out more and book tickets, visit ramsestheexhibition.co.uk/london

Photo: Fever A new adrenaline-pumping gaming experience is debuting in the UK this month. Located in London’s buzzling Shoreditch, Boom Lab opens its door on 18th December, inviting thrill seekers of all ages to dive into a world of challenges, puzzles and high stakes fun. Boom Lab is a 75-minute colour-fueled challenge, featuring 6 immersive challenge rooms where guests will solve puzzles, dodge lasers, and compete as a team in a chaotic, arcade-style game. Ultimately, groups made of 2 to 8 people will face the final task: race against the clock to trigger a paint-filled explosive. Photo: Fever The six explosive rooms include: Blue Blur: A multi-screen system where players will cooperate by sharing complex information through the screens. Communication is the key. Pink Panic: High-tech, real-life Whack-a-Mole! Smash glowing buttons before they vanish in this fast-paced, high-energy challenge filled with lights, sounds, and chaos. Red Reflex: Dodge and weave through a maze of lasers without getting hit! Test your agility and reflexes as the course intensifies with each move. Yellow Yell: Aim, think, and shoot! Hit the right targets in these interactive puzzles where quick decisions and accuracy unlock the path forward. Orange Outrun: The floor is lava! Jump between platforms, collect keys, and avoid fireballs in this action-packed team challenge where speed meets strategy. Solara: The grand finale! Use the colors and hearts you’ve earned to defeat the Black & White Nemesis—trigger the paint explosion and restore color to the world! Photo: Fever Ella-Jane Coxwell, Project Manager at Fever Originals comments: We’re thrilled to bring Boom Lab to an area already buzzing with fun and energy. It’s a place that invites people to connect, play, and make unforgettable memories together. More than just a game, Boom Lab is a fully immersive experience that brings out the collaborative spirit in everyone. Photo: Fever Boom Lab will open at 83 Rivington Street near Shoreditch High Street on 18th December. Tickets are priced from £22.90 per person. For more information and to book, visit boomlabexperience.com/london

Photo: Secret Theatre The Nutcracker Noir, produced by Secret Theatre and DesignScene, is an immersive dining experience at Protein Studios, a short walk from Shoreditch High Street. Running until 21st December, it combines immersive elements, live on-stage performances from a cast of West End talent and a five-course meal designed by Feast & Fable's Jenny McNeill to create an experience that's indulgent, classy and, most of all, incredibly entertaining. Guests enter Club Noir via a secret entrance within the Merry & More Mart, a pop-up cafe and Christmas shop that's open to the public outside of performances. With bright colours and bold graphics, it's got a touch of Meow Wolf's Omega Mart to it, with various fake products like Reindeer Milk, Sno'J and Yule Log Pine Bleach on display. The majority of products in store, however, are real and available for purchase, including homeware, candles and customisable Christmas goodies from numerous independent London businesses. On the way into the space, there's a generously sized welcome shot of gin, mulled spice and clementine tonic (a non-alcoholic option is also available) and a bite-sized canapé with pastrami, smoked cheese and sugar plum jam inspired by Katz's Delicatessen in New York, which set the tone for the evening. Photo: Secret Theatre Moving through the secret entrance into Club Noir, guests pass through a series of immersive rooms in groups of 20, which set up Nutcracker Noir's narrative and introduce guests to the show's main characters. Their first encounter is with the towering Elf Eldar (Christopher Howell), who asks the audience to place the Christmas wishes they wrote down moments earlier in the queue into a box in the centre of the room. After picking an audience member from the crowd, Eldar performs an impressive feat of mentalism for the audience. Clara (Anita Nicole), the show's protagonist, awaits guests in the next space. Standing on a raised plinth in the centre of the room, she shares her story - as a child, she was abandoned on Brick Lane along with a note from her late mother and has spent the subsequent years searching for a family (chosen or otherwise) of her own. She now finds herself working at Club Noir as a choreographer for their latest show, which awaits audiences. There are 360-degree projections on all four walls of the room, which add a fittingly festive visual element to Clara's tale and elevate this encounter from being a pure exposition dump. The final immersive room prior to arriving in the Club Noir is the office of Frank Zane (Jairus McLachlan), who's the son of club owner George. With talk of auditions still being open for a couple of roles in the show, Frank asks for a volunteer to belt a tune. As soon as the last note echoes, the self-proclaimed 'ruthless theatre critic' Madame Zel (Jessica Alonso) bursts through the door, high kicking and twirling with every other step. For Frank, Madame Zel's arrival does little to calm his nerves ahead of the show's opening and only ups the pressure for it to be a success. Photo: Secret Theatre Inside Club Noir, guests are seated at pre-assigned tables, which flank a thrust stage. As you'd expect, VIP seats are right next to the action, with Club seating further back in the space. Regardless of where you sit, the decor inside Club Noir is gorgeous, with red drapes and chandeliers throughout, and there are good sightlines from all the seats. The show's on-stage performances, which run for roughly two hours with short breaks and an intermission, draw from a wide range of songs. With live vocals throughout, Frank, Clara, and MC Roz (Nic Myers) share singing duties for the show's contemporary tracks, performing everything from Lady Gaga's 'Abracadabra' to Doechii's 'Anxiety' and Rihanna's 'SOS' across the evening to rapturous applause. As for the club's owner, George (David-Michael Johnson), their performances hark back to the past, with Judy Garland's 'Life Is Just A Bowl of Cherries' and 'O Holy Night' amongst their repertoire. Accompanying the main cast on stage are Club Noir's resident dancers, made up of dance captain Axl (Alex Codd), Angie (Chris Vasileiadi), Jax (Patrick Wilden), Future (Tianna Jewiss) and Flow (Phoebe Coray). While every performance within The Nutcracker Noir is great, the highlights include a rock-infused reworking of 'Dance of the Sugar Plum Fairy' in the second half, which has the show's supporting cast scurrying through the audience and bounding onto the stage in leather mouse masks wielding weapon-sized candy canes, and Roz's rendition of 'Pink Pony Club', which elicits a huge response from the audience. The choreography comes from the show's co-director, Gary Lloyd, who's previously worked on West End shows like Thriller Live and Heathers: The Musical. Photo: Secret Theatre Shining just as brightly as the on-stage performances is Rob Jones' costume design, which feels like a mix between Vivienne Westwood, Alexander McQueen and ballroom culture. There's a huge range of bold shapes, flowing materials and silhouettes amongst the cast's costumes, with everything from huge flared peplum trousers to knee-high boots on display. Club owner George's outfit nods to the show's East London location and Clara's backstory, taking direct inspiration from Pearly Kings and Queens, whose origins lie in Henry Croft, an orphan and street sweeper who adorned his suits with pearls to draw attention while fundraising for orphanages and hospitals in the 1870s. Peppered throughout the show's musical numbers are several narrative scenes, continuing the overarching story established in the earlier immersive rooms. A brief flirtation between Clara and Frank is quickly shut down by George for reasons that save the pair from a kiss that they'd both regret for the rest of their lives, Clara's search for family at her mother's former workplace turns up unexpected results (you can see where we're going here...), and in the show's conclusion, the reunited Noir family, which has now gained a sister, comes together with Clara declaring she's found what she always hoped to find. It's a pretty basic story and not all that emotionally affecting, but The Nutcracker Noir's musical numbers and strong performances carry it through all the same. Despite claiming to be an adaptation of The Nutcracker, the show's connection to Tchaikovsky's ballet is minimal, with only minor details like Clara's name carrying over. Photo: Secret Theatre The Nutcracker Noir's five-course meal has been designed by Feast & Fable's Jenny McNeill, who has previously worked with immersive dining legends Gingerline and Heston Blumenthal's triple Michelin-starred Fat Duck. Things start simple enough, with Brick Lane Butter and Sourdough bread, which on the surface sounds pretty standard, but the whipped butter, which is infused with panch phoron, roasted garlic, crispy onion and tempered curry leaves, is honestly amazing and serves as the perfect entry point for the menu's upcoming dishes. A duo of trout starters soon follows, with the Club Classic (treacle-glazed Chalk Stream trout with celeriac, brussels sprout remoulade) and Contemporary Cooking (nori and brown sugar-cured Chalk Stream trout) coming out in quick succession. For vegetarian and vegan guests, the trout is substituted with a treacle-glazed beetroot tarte tatin in the Club Classic and candied beetroot with carrot in Contemporary Cooking. The Nutcracker Noir's main course comes in the form of slow-braised beef cheek (spice-roasted cauliflower for vegetarians) with BBQ reduction, crème fraîche, blackened corn and soused root vegetables, which is cooked wonderfully and hugely flavourful. Rounding things off is a baked Basque cheesecake with Spanish brandy, sherry, orange and vanilla-plumped prunes, which ties directly into the on-stage story, with the recipe coming from Clara's mother. Photo: Secret Theatre By way of refreshments, The Nutcracker Noir's drinks list has everything you'd expect. The standout items are the cocktails, which thematically tie into the show's story. Our favourite from the cocktails we sampled was the Frostbite, a wintery take on a margarita, with tequila, mezcal and Velvet Falernum served over ice. Winter Bloom, which is made up of aged rum, sweet vermouth, pineapple, ginger and winter spice, was another highlight, not least due to the gingerbread cookie clipped to the side of the glass, which was a welcome surprise. Throughout the evening, the service from Club Noir's hosting team was also incredibly attentive. Alongside the regular check-ins asking if we needed anything and speedy delivery of drinks, each course was delivered exactly when intended, coinciding with the performances and on-stage references to the dishes. It's far better service than we've received in a lot of proper restaurants, and operationally, for us at least, it was flawless, with a welcome drink and starter served within moments of us taking our seats. Photo: Secret Theatre While the price of entry for The Nutcracker Noir is certainly high (starting at £115 per person for access to the show and the five-course meal), it's evident that the money is being put to good use, with a company made up of West End talent, a gorgeous setting and enough food to satisfy even the most ravenous of guests. When compared to other Christmas dining experiences, most notably The Lost Estate's long-running The Great Christmas Feast  in West Kensington, The Nutcracker Noir stands shoulder to shoulder, despite this being its debut year. As a piece of counter-programming, it also offers an experience that's the polar opposite of The Lost Estate's moody and atmospheric one-man performance, with big group numbers, extravagant costumes and enchanting design, even if it's not quite as overtly 'festive' as spending an evening in Dickens' home as they share the tale of A Christmas Carol. An excellent choice for a couple's date night or festive get-together with friends, The Nutcracker Noir is one of the best nights out we've had in ages and more than delivered on its promise of quality food, amazing performances and killer cocktails. Madame Zel may have turned her nose up at it, but we loved every minute. ★★★★ The Nutcracker Noir runs at Protein Studios near Shoreditch High Street until 21st December 2025. Tickets are priced from £48 for Bar Seating (Show Ticket) and £115 for a shared Club Table (inclusive of a three-course meal). To book tickets, visit nutcracker-noir.co.uk

Photo: Matt Crockett Immersive Rumours: Hi Richard and Gary. Thanks for speaking with us today. Do you mind introducing yourselves and telling us about what your roles are for The Nutcracker Noir? Richard Crawford:  I’m Richard Crawford, and I’m the artistic director at Secret Theatre and DesignScene. My role for The Nutcracker Noir is creator, writer, and co-director alongside Gary Lloyd. Gary Lloyd: I'm Gary Lloyd, and I am the choreographer and co-director of The Nutcracker Noir. IR: Richard, can you give us a brief history of Secret Theatre and some of the company’s past productions? It's been several years since you last staged a public show in London. RC:  Absolutely. It all started in New York when I was running the Brooklyn Studio Lab. After having seen some of Punchdrunk’s work just before moving over there, I really wanted to experiment with audience interaction, which culminated in the world stage debut of Edward Scissorhands in 2009. Shortly after that, we established Secret Theatre. We’d often launch shows in London, because that was the place to cut your teeth, but they were always very low-key. You had a much smaller audience size to capture, which made it a little easier. We’ve always been different from the other big companies because we’ve been mobile from day one, which meant that if we had a show designed for an audience capacity of between 100 and 300, it was a lot easier to take it on the road and explore the world, whether that's in Europe, Madrid or Hong Kong - where I've done at least 10 shows over the last decade. Two years ago, we were acquired by DesignScene after I worked on a number of corporate activations with them. Alongside those brand activations, which took us to Cannes Lions and New York, amongst other places, we continued to have commercial ticketed shows with Secret Theatre, including a brand new IP in Hong Kong called Art of Dying , and in Singapore, we launched Last Night at Studio 54 . Photo: Matt Crockett IR: How did the idea for The Nutcracker Noir first come about? RC:  Over the last few years, I’ve done quite a few dining experiences across Europe and Asia and was trying to think if there was a time and a place to put that vision and really go big on it.  Attila Keskin, the owner of DesignScene, and I had been banding around ideas and eventually landed on this one, which is an immersive adaptation of The Nutcracker with amazing food woven into the script as part of the narrative and the evening. This show is really an accumulation of everything - all of our learnings and all the magic we’ve created - with the addition of food. Attila is quite a special guy. He’s been in the industry doing events for 30+ years. If you say, ‘Elton John’s got a new song out,’ he’ll go, ‘Oh yeah, I remember doing Elton John’s birthday party in 2003.’ I remember saying to him, ‘I’m writing a show that features Diana Ross,’ and he said, ‘I remember doing a show for Diana Ross in Marrakech.’ The guy’s done everything at the highest standard. It’s really wonderful to be working with him and Gary, alongside Jenny McNeill from Feast + Fable , on this production. There are a lot of really creative geniuses getting involved in this show, and it’s really exciting to be working with all of them on this, taking Secret Theatre to the next level. IR: The inspiration behind the show is Tchaikovsky’s classic ballet, but The Nutcracker Noir is a modern reworking of that, right? GL: Yeah. When Richard and I first spoke about the show, he presented a very different version of The Nutcracker, which is super contemporary. All of these characters live in the now. There's, of course, Tchaikovsky woven all the way through it, but there are times that will feel as if Tchaikovsky’s great-great-granddaughter became Chappell Roan. Musically, there’s a bit of pop in there, some jazz and American classics, sing-along moments, a bit of disco and Christmas and current chart music. Each moment really helps describe the history and the fabric of each of the characters. It’s got that classic Baz Luhrmann feel in that it's taking from all these genres and mashing them up. People are going to find it a challenge to stay seated for as long as they have to, but they will be allowed to get up and dance at the end… Photo: Matt Crockett IR: The experience begins with a number of immersive rooms before audiences enter the main performance for the main performance and meal. What can you tell us about the journey audiences will go on? RC: You know when you see those Christmas movies where the guy’s working in the cold city and goes back to the pub in his hometown and people are merry and singing, and you get a drink in your hand straight away? That’s the entry point to the show. It starts with audiences moving through a number of different rooms, a lot like when you move through The Kit Kat Club at Cabaret . In our show, it begins in a Christmas shop, which’ll be open during the day and will be a really cool and kitsch pop-up experience where you can get Christmas gifts and things related to the show. You’ll meet 10 characters in that opening that are all intertwined in the story, which I love. Without giving too much away, there’s a very interesting moment where we’re using projection mapping to really bring this story to life, and as you move into the space, there are all these performer-driven moments too.  The currency of my shows is the performers, and to be that close to performers as good as we’ve got is very exhilarating. We’ve actually got some of the Cabaret cast and team in The Nutcracker Noir, so that is what’s going to be quite mesmerising, I think. You’ll see performers walking through the space at the beginning, and have the freedom to walk around yourself. I’ve been to some shows, and there are no performers there, which is something I wanted to change for this one. Let’s have amazing performers greet you so you can feel that talent right away. IR: London’s one of the world’s leading cities for immersive work, with many of the scene’s best-known companies hailing from here. When you were in the planning phase for The Nutcracker Noir, how did you approach creating an experience that stands out against some of the city’s other immersive dining experiences, like The Lost Estate’s The Great Christmas Feast? RC: I think it's a great point, and you need to understand your competitors. You used the example there of The Lost Estate, which is at the forefront of immersive dining experiences around Christmas. I went to their experiences, hung out with Ash, the chef, and I love what they do. I sat there and thought, ‘Can I do something different to this?’, and for me, yes. The Nutcracker and A Christmas Carol are very different. [The Lost Estate’s The Great Christmas Feast] is very text-driven, very actor-driven. They have one performer who does a fantastic job of bringing that story to life, but I kind of want more. We have at least 12 performers bringing it to life with dance, with music, with everything. I went to lots of different dining experiences, and I thought, ‘Is it possible to get these dancers, these singers, these actors who are on the West End into an immersive dining show?’. Creating an immersive dining experience done to a West End level was the ambition, and making it really different from the other things that are going on at Christmas. It’s going to be very different in terms of going on more of a journey. At the beginning, you meet all the characters. There's a nice balance of dance, music and narrative which makes it, to me, really, really exciting. It's flamboyant, it's bright, it's West End, it's song, it's dance, it's immersive, it's intimate immersive experiences, so it's very different from the other offerings available this time of year, and I think that's the nice thing. People who love The Nutcracker, love immersive theatre, and love food being intertwined in the story like Gingerline do beautifully, it's going to be right up their street. Photo: Matt Crockett IR: Alongside the immersive elements and main performance, there’s also a three-course meal designed by Jenny McNeill from Feast + Fable. How is the show’s menu going to integrate with the world you’ve created? GL: I think from a staging perspective, what was really important to us was that this whole experience is cohesive, and our guests come out feeling like they've had an amazing immersive experience, and they've watched a spectacular show and enjoyed incredible food. We wanted to make sure that the script and what we do with our staging combine all of these things. So, along with that, the menu has been designed by Richard and Jenny to coincide with the story. So, it's super cohesive in many different ways. We’re planning on using the waiting team as part of the cast. We're hoping to have a seamless relationship between storytelling, musical numbers and food arriving so that the audience has just got this almost 5D experience that never stops. IR: Gary, alongside co-directing, you’re also the choreographer for the show. Previously, you’ve worked on shows such as Heathers and Thriller Live! in the West End. How different is your approach to planning choreography for a venue like Protein Studios, where the audience is a lot closer to the action and surrounding the stage instead of in front of it? GL: I think similarly to combining the dining in with the immersive and the storytelling and the choreography, it's about the audience getting to know each of these characters. I'll be working on the individual movement of each character. There's a richness to what the audience is seeing, both from a stage perspective and when they're meeting them in the immersive rooms and around the space. It is tight, and so we've got a couple of performance spaces with a catwalk that joins them. It’s very much in the round, with tables all facing different directions, so the challenge really is ensuring that when you've got something downstage on the circular element that's right in the centre, everybody further back has got something to look at. It's about creating choreography that is 360 and is able to share that information so that everybody else in the cast is able to kind of translate that through their movement as well. IR: Is working in a 360-degree environment like this a refreshing challenge for you? GL:  Well, I've done a couple of in-the-round or in-the-square productions previously, and it is challenging. Especially when you've got a protagonist that's delivering an important bit of information. You want to make sure that everybody gets not just the dialogue or the movement or whatever it is, but they see the emotion on their face. We’ve been working on this show for a very long time, and all of these conversations are part of it, making sure that the experience is fully 360 and fully enriched and just taking in the format of the room. It's a very big production in that sense.  Photo: Matt Crockett IR: The show’s also got quite a formidable cast, with performers who’ve previously appeared in everything from Hamilton to Cabaret and Wicked. How has it been having the show’s cast all under one roof as things ramp up? GL:  I think between Richard and me, we've worked with most of these actors before, so there's a real sense of familiarity and knowing how the collaboration is going to work. We cast very carefully based on people's personality, as well as their talent and experience. The space will be challenging as much as it will be rewarding, so you need people who are team players, who are flexible, and who understand that every show is going to be different because the audience's reaction to them is going to be different. We've got this super high level of talent, but we've got wonderful, pragmatic and down-to-earth humans at the same time. The Nutcracker Noir will run at Protein Studios near Shoreditch High Street from 26th November to 21st December 2025. Tickets are priced from £48 for Bar Seating and £180 for a shared Club Table (inclusive of a five-course meal). To book tickets and find out more, visit nutcracker-noir.co.uk

Phantom Peak caps off the year with another set of exceptionally fun festive trails in their top-tier Christmas offering, Wintermas. Photo: Alistair Veryard Hot on the heels of its recent Halloween season , Phantom Peak returns with its annual festive offering, Wintermas. Running until 18th January 2026, this Christmas edition of the open-world immersive experience brings with it 11 new story trails, a festive retheme to the town, and the latest developments in its three-year-long overarching storyline, which is close to reaching a climax with the much-teased 'Great Undoing' now on the horizon. As an experience, Phantom Peak continues to offer excellent value for money, endless opportunities for engaging and fun interactions with the show's cast, and some of the sharpest and funniest writing available in any production, anywhere in the country. With Wintermas, the show's creative team have delivered another stellar collection of trails that are up there with some of the best they've ever produced. Photo: Alistair Veryard Regular visitors to the mining town will be familiar with the show's tried-and-tested formula, which has been continually tweaked and refined with each passing season. Four times a year, there's a town-wide retheme, accompanied by a fresh batch of story trails that deepen the town's already dense lore. Through these trails, guests explore the 30,000 sq ft town, interact with Phantom Peak's 15+ residents, engage with the numerous pieces of off-kilter tech, and solve puzzles over the show's 4-hour duration. While the focus of each storyline differs wildly from trail to trail, they're all packed full of humour and lead you down a rabbit hole far more bizarre, irreverent and offbeat than the starting point ever suggested. For those keen to collect all of this season's individual trail cards, which are given to guests upon completion of each storyline, it'll take at least 3 visits. That's without giving yourself time to sink your teeth into the various other distractions on offer around town, which this season include a trio of carnival games, fully functional in-world arcade machines, communal competitions, the ever-popular competitive sport of Platyhooks, and, of course, a visit to Father Platmas' Grotto (which is an additional upcharge). Photo: Alistair Veryard Picking up the ongoing storyline from Phantom Peak's Hallowed Peak season, this year's Wintermas finds the town reeling from Mayor Pocket's recent removal from office after failing to capture several fugitives wanted by JONACO - the all-knowing corporation that oversees Phantom Peak. At the top of the Most Wanted list was the sausage-fingered Dr Furbish, the town's previous Mayor. Previously thought to have died years earlier in a blimp crash, Furbish is in fact alive and well, living in puppet form and currently taking part in a reality dating series on the Moon (stay with us here…). For Wintermas, JONACO's Head of Marketing, Lovehart, has assumed the role of Temporary Mayor, and as usual, demi-god Father Platmas has returned to town, ready to wreak havoc and decree who's made it onto the Naughty and Nice lists. Those already feeling overwhelmed at the mention of well-established lore, backstories and power struggles can rest assured that, despite already having 160+ trails under their belt, Phantom Peak goes out of its way to ensure that newcomers to the town can follow what's going on. Besides needing to become familiar with which townsfolk are which and where to find them within the town (both of which are covered by the Town Noticeboards and physical Town Maps), progressing through the trails is a surprisingly intuitive process that offers little in the way of true obstacles. Photo: Alistair Veryard While Wintermas should be the happiest time of year in Phantom Peak, many of the townsfolk once again find themselves with major problems that can only be solved by the town's tourists. For General Store owner Datchery, the proposed construction of a railway station in Phantom Peak by Ebenezer Scrooge-like railway tycoon Myne Bland is threatening to see their store knocked down. JonaPost worker Littlefield isn't having a much better time, with an ever-growing backlog of correspondence passing their desk and the recurring issue of mail mysteriously transforming upon delivery. For Pergiate, the town's resident administrator, their issues are of the familial kind, as they scramble to keep their overbearing parents away from their new partner. Capitalism and consumerism also play a part in this year's Wintermas, with each townsfolk ready to write a cheque when needed to get things done. 'Coffee is for Closers', which focuses on Loveharts' attempt to hold onto their job as Head of Marketing for JONACO, sees guests trying to sell plastic figurines to the townsfolk and gives them a chance to unleash their inner Jordan Belfort in an attempt to secure the largest order possible. Photo: Alistair Veryard Although Phantom Peak's core mechanics have largely remained the same since its first season back in 2022, the overall experience remains hugely engaging and entertaining thanks to the ever-changing selection of trails that come with each new season. Working through the trails on offer this season, guests will find themselves shapeshifting constantly, stepping into the shoes of everything from temporary postal workers and journalists to undercover railway workers and toy experts at a moment's notice in order to progress through the variety of stories on offer. We can say with some certainty that Phantom Peak is the only immersive show to ever exist that has asked its guests to roleplay as plumbers to save a half-man, half-fish trapped in a pipe, and that's only one of the many bizarre situations guests may find themselves in this Wintermas season. Photo: Alistair Veryard Each of the trails on offer this Wintermas moves at a brisk pace, taking anywhere from 45 minutes to an hour to complete (depending on how quickly groups want to work through them) and provides plenty of chances to interact with Phantom Peak's townsfolk, who are the backbone of the experience. With a cast fully committed to improvising and responding to whatever tourists are asking them, every interaction with the town's residents has the potential to be the highlight of a visit. As with so many immersive experiences, the more you put into it, the more you'll get out of it, so don't shy away from interacting with the show's cast whenever you get a chance, even if they're not directly tied into the trail you're working through. Outside of the trails, the show's closing ceremony features the traditional group sing-along of the Wintermas carol 'Platypus In The Snow' and a showdown between Mayor Pocket and Father Platmas. While earlier seasons of Phantom Peak would often tie up a lot of loose threads from its story trails during the closing ceremony, recent seasons have moved away from this in favour of large-scale dance numbers performed by the townsfolk. This Wintermas, this final performance sees Father Platmas possess all of the townsfolk to ridicule Pocket and give a final judgement on which list both the townsfolk and tourists are on. A final Wintermas wish is granted, with the arrival of snow in the Town Square, which closes out the 4-hour-long experience. Photo: Alistair Veryard As part of Phantom Peak's ongoing, multi-season storyline, there are several nods to The Great Undoing - an event that's been teased for well over a year and will usher in the end of Phantom Peak's time in their Canada Water venue sometime in 2026. While details of where the show will be moving to remain under wraps for now, Phantom Peak's producers are clearly confident that there's still a lot of story left to uncover in the mining town, and their upcoming change of venue has allowed the show's storyline to carry far greater stakes for both the town and those who inhabit it. With Wintermas, Phantom Peak has delivered another outstanding season. Through its open-world, free-roaming design and unique story structure, which lets guests work at their own pace without fear of missing out on anything, the show's creators have landed upon a winning formula that season after season produces some of the most engaging, rewarding, and hilarious encounters available in the immersive world. ★★★★★ Phantom Peak's Wintermas runs until 18th January 2026 in Canada Water. To find out more and to book tickets, visit phantompeak.com For more reviews of immersive experiences like Phantom Peak's Wintermas, check out our recent Reviews .

With Earth due to be destroyed to make way for the construction of a Hyperspace Bypass, audiences have to hitch a ride to the outer reaches of the galaxy in this immersive staging of Douglas Adams' much-loved sci-fi series. Photo: Jason Ardizzone-West Douglas Adams’ The Hitchhiker’s Guide to the Galaxy is one of the best-known and most-loved sci-fi series of all time. Starting life as a BBC radio series in 1978, it later spawned a series of novels, a television series, a feature film and a highly successful video game. Along the way, Adams' series gained a devoted following, became endlessly quoted online, and influenced a lot of the technological developments we've seen unfold over the last few decades (X's Grok is said to be directly inspired by The Hitchhiker's Guide, Google's AI research lab took its name from Adams' work, and Wikipedia is basically our modern-day version of The Guide, to name just a few examples). Now, for the first time in several decades, a proper live stage version of The Hitchhiker's Guide has opened in London. Taking over Studio 2, Studio 3, and the connecting corridors of Hammersmith's Riverside Studios until 15th February 2026, this immersive promenade production, written by Adam's protégé, Arvind Ethan David, invites guests to join Arthur Dent and Ford Prefect as they hitch a ride off a soon-to-be destroyed Earth and begin their search for the answer to the ultimate question of life, the universe, and everything. While the Live Show's story largely follows the main beats of Adams' original novel, it plays around with its timeline, adds a number of musical numbers, and incorporates elements and characters from some of the later books in the series. Most notably, the character of Fenchurch, who is mentioned on the first page of the original Hitchhiker's novel as an unnamed character and doesn't return until the fourth book, is front and centre in this production as Arthur's love interest. Our condolences to those whose favourite character is Trillian... Photo: Jason Ardizzone-West For long-time fans of The Hitchhiker's Guide, this rather dramatic reworking of Adams' original series might seem sacrilege, but by Adams' own admission, it has been the norm for Hitchhiker's since its inception. In preparation for attending the Live Show, we re-read our copy of the original novel, which features a 'Guide to the Guide' from Douglas Adams as a foreword. In it, he explains, "The Guide has appeared in so many forms... each time with a different storyline that even its most acute followers have become baffled by at times". He then explains how all the different versions of the story contradict each other over the following page and a half, so take the Guide's advice and Don't Panic just yet... The experience begins with guests gathering in The Horse and Groom for Arthur Dent's Surprise Farewell Party. Arthur's best friend, Ford Prefect, is a ball of energy, frantically running around, welcoming guests and putting together the finishing touches. Behind the bar, everything from warm lager to Pan Galactic Gargle Blasters are being served. For Arthur, who's already had quite the morning dealing with a bulldozer trying to knock down his house, this party is surprising for two reasons - the audience all scream 'Surprise!' as he enters the room, and he's not planning on going away anytime soon. For Fenchurch, who's also at The Horse and Groom to meet Arthur for a date, their mind is elsewhere, as they were on the cusp of having a world-changing revelation, which has seemingly slipped their mind entirely. An announcement on the pub's TV screens from the Vogons (voiced by Sanjeev Bhaskar) - an alien race employed as the galaxy's bureaucrats - decrees that Earth is due to be destroyed to make way for the construction of a Hyperspace Bypass. With the clock ticking, Prefect sticks out his thumb, and the farewell party, along with Dent (but notably not Fenchurch), hitch a ride on a passing ship and begin an adventure across space that ultimately leads them to Magrathea, an ancient planet long thought destroyed. Along the way, there are encounters with two-headed President Zaphod Beeblebrox, the much-loved Eccentrica Gallumbits, designer of planets Slartibartfast, and the depressed robot, Marvin the Paranoid Android, amongst numerous other intergalactic characters. Photo: Jason Ardizzone-West While admittedly, it's a pretty unenviable task trying to condense the essence of 700+ pages, a feature-length film and 30+ radio episodes down into a 90-minute live show that mirrors Adams' voice and humour while remaining accessible to newcomers, on the whole, Arvind Ethan David has done an admirable job of trying to distill all of that source material down into something that works, even if it glosses over a lot of the novel's finer points. Many of the ideas fans would expect to be included, including babblefish, the exodus of the world's dolphin population and Arthur's endless hunt for a good cup of tea, have been omitted for the sake of time and barely get a mention. Superfans will be glad to hear that the show's use of The Guide, which is voiced by Tamsin Greig, is skilfully deployed throughout. After Prefect leaves his bag with a guest aboard the Heart of Gold, a voice cries out from inside asking to be charged up. When pulled from the bag, it flashes with a low battery warning and begs to be plugged into a charging station, which causes its catalogue of endless knowledge to be projected onto the ceiling of the space, delivering some rapid-fire context on the now-destroyed planet guests have just left behind. Photo: Jason Ardizzone-West It's worth mentioning that throughout the show, there are a number of musical moments, none of which give thanks for the endless supply of fresh fish. Starting in The Horse and Groom with a duelling performance between Prefect and Fenchurch that uses 4 Non Blondes' 'What's Going On?' and Gnarls Barkley's 'Crazy', right the way through to 'Amazing Grace' and Kenny Rogers’ 'Just Dropped In' later in the show, Hitchhiker's musical selections are wide-ranging. All of these songs are performed live by the show's cast, who give it their all, but their inclusion is, at least at first, slightly baffling. Whether it's down to the Pan Galactic Gargle Blasters or our increased investment in the show's characters by its conclusion, we found ourselves won over by the show's musical moments and walked away from the experience feeling like they worked, even if they're a left-field addition to a story that's already struggling to fit everything in. Of course, your mileage on this will vary depending on your feelings towards musical performances in theatre. Photo: Jason Ardizzone-West Benjamin Durham's portrayal of Arthur Dent, who acts as the audience surrogate in the opening scenes, is wonderfully charming and throughout, he has the energy of a lovesick puppy as he shows far more concern for kindling a relationship with Fenchurch than for the impending destruction of Earth. Tamara Saffir's interpretation of Fenchurch effectively sells the blossoming relationship between her and Dent, even if Fenchurch's role in the story is pushed to the sidelines in the second act. Lee V G's dual-headed Zaphod Beeblebrox, who appears both in person and through pre-recorded video content, balances having all the bravado and bluntness you'd expect for the President of the Galaxy with a far softer and more approachable side, depending on which head is awake in any given scene. Of all the main cast, Matt Colyer's performance as Ford Prefect stands out as the strongest. With years of experience improvising with guests as Halloway in Phantom Peak , it’s no surprise that they’re right at home in the most interactive moment of Hitchhiker’s Guide, weaving through the audience and striking up conversations at every turn. Throughout the show, Colyer's Prefect regularly reference previous conversations and calls on guests by name, on top of delivering an energetic performance as one of the most extraverted aliens this side of the Hyperspace Bypass. Andrew Evans's puppetry and voicing of Marvin the Paranoid Android also shine through as a particular highlight, with large crowds forming around Marvin in the hope of speaking to them one-on-one. Their repeated asking of people's names, only to dismiss their answers as unimportant, and go-to party trick of claiming to know every song in the known universe, then completely butcher its delivery, drew some big laughs from the audience. As a piece of puppetry design, Martin's mix of exposed wires and rusted exterior is a far cry from their sleek, spherical portrayal in the 2005 Touchstone Pictures film, but they contain just as much contempt and self-loathing, regularly sharing their self-diagnoses with guests. Photo: Jason Ardizzone-West The show's supporting cast, whom guests encounter upon arriving in the cargo bay of the Vogon Construction Fleet, also provides further chances for one-on-one interactions. Set across several bays, there’s the snot-worshipping Jatravartids, stirring up a bowl of the green stuff and asking for further contributions, the three-breasted Eccentrica Gallumbits (Briony Scarlett), who roams the space striking up conversations with potential customers, and the Vogon Complaints Department, where guests can take a queue number and explore their desks and endless bureaucratic documents. Guests have between 10-15 minutes to explore this open space at their own leisure, which also contains a merchandise stall decorated to be a campaign stall for Zaphod, and grab themselves a drink at the in-world bar. One of Hitchhiker's Live's weaker elements is the set design, which sadly feels pretty barebones throughout. Large black curtains cover some of Riverside Studio's studio walls, which goes some way to contain the show's world, but at times, the guts of the studios are still on display with next to no dressing covering them. Moving between the show's main spaces (particularly from The Horse and Groom into The Heart of Gold) feels like walking down a nondescript TV studio corridor, and the later transition into the Vogon Construction Fleet ship has guests walking past numerous studio wall boxes. While most shows don't have the kind of budget Secret Cinema has, comparing the off-world portions of Hitchhiker's Live to Secret Cinema's past sci-fi offerings, such as Guardians of the Galaxy, feels like night and day. At no point does it feel like the audience has actually left Riverside Studios, let alone Earth, which is disappointing given the size of the spaces Hitchhiker's Guide has taken over, and its potential to be completely transformed. Photo: Jason Ardizzone-West While long-time fans of the series will likely have issues with the live show's omissions and changes, for us, The Hitchhiker's Guide Live is an enjoyable and entertaining romp that (mostly) succeeds at adapting Adams' source material into a 90-minute show. Even if we didn't feel like we ever truly left Earth behind, the show's strong performances, fun interactions and hugely likeable cast make this an experience that's worth jumping on board a stranger's ship for. ★★★½ The Hitchhiker's Guide To The Galaxy Live runs until 15th February 2026 at Riverside Studios in Hammersmith. Standard tickets are priced from £42.00, and VIP tickets are priced from £72.00. For more information and to book tickets, visit hitchhikerslive.com For more reviews of immersive experiences like The Hitchhiker's Guide to the Galaxy Live, check out our recent Reviews .