This November, get ready for cosmic adventure and unexpected surprise as Riverside Studios plays host to The Hitchhiker’s Guide To The Galaxy Live Show. From 15th November 2025 to 15th February 2026, join Arthur Dent, Zaphod Beeblebrox, Fenchurch and the most unlikely crew in the history of galactic adventure as they escape the destruction of Earth and set out on a quest to uncover the mysteries of Life, the Universe and Everything, armed with little more than a towel and one VERY depressed robot. The Hitchhiker’s Guide to the Galaxy Live Show features a mix of pre-recorded celebrity voices and live performers , including well-loved British talent actor and comedian  Sanjeev Bhaskar  as the voice of  Prostetnic Vogon Jeltz , the infamous alien bureaucrat with a mission to destroy the Earth.  Lenora Crichlow  will voice  Tricia McMillian , also known as  Trillian , while journalist  Samira Ahmed  will appear as a newsreader reporting on the planet’s impending doom. BAFTA nominee  Tamsin Greig  will be the voice of  The Guide , the ever-present source of wisdom and guidance throughout the story.   Photos: Tamsin Greig, Sanjeev Bhaskar, Samira Ahmed Accompanying the line-up of celebrity voices in The Hitchiker's Guide to the Galaxy Live Show is a stellar cast of live actors including  Benjamin Durham  ( 101 Dalmatians , UK Tour) and  Robert Thompson  ( Unforgivable , ITV) as Arthur Dent,  Oliver Britten  ( Down Cemetery Road , Apple TV+) and  Matt Colyer  ( Phantom Peak ) as Ford Prefect,  Kat Johns-Burke  ( Peaky Blinders: The Rise ) as Fenchurch,  Andrew Evans  ( The Polar Express ) as Marvin the Paranoid Android,  Lee VG  ( Only Fools and Horses: The Musical , Theatre Royal Haymarket) as Zaphod Beeblebrox,  Richard Costello  ( Death of England , National Theatre) as Slartibartfast,  Angelis Hunt  ( TINA: The Tina Turner Musical,  Aldwych )  and  Aya Elmansouri  ( Cinderella , Gatehouse) as Humma Kavula,  Briony Scarlett  as Eccentrica Gallumbits and  Tom Bowen  as Wowbagger, with  Alex Anthony Fevrier ( Jesus Christ Superstar , Watermill) and  Tamara Saffir  ( Grease,  Secret Cinema). Co-Created by Arvind Ethan David, protégé of Douglas Adams, this immersive experience invites audiences into a brilliantly imaginative universe unfolding across a series of interconnected spaces.  Moving from pub to spaceships to alien planets across the whole of Riverside Studios, room to room, participants encounter paranoid androids, all-knowing AIs, exotic aliens and are offered the chance to find their own ultimate meaning (which may or may not be 42..). Image: The Hitchhiker's Guide To The Galaxy A story infused with Adams’ razor-sharp wit and surprising emotional depth, paired with music and dance, the experience delivers laughter, connection and an unforgettable adventure for longtime admirers of Douglas Adams and newcomers alike.   The evening begins in a rather unusual pub, where guests can settle in with a drink before being swept into a story filled with spectacle and cosmic mischief. From there, the adventure takes flight as participants hitch a ride on a passing spaceship, encounter interdimensional mice, and uncover the secrets of the universe in the most absurd and entertaining ways imaginable.   Speaking ahead of the show's opening, co-creator Arvind Ethan David commented: I first met Douglas when I was 18 years old, and he changed my life by inviting me into his orbit. 30 years later, it’s a singular honour to bring his masterwork, absurd and profound in equal measure, to new audiences, in a partnership with a world-class group of artists   With its combination of sharp comedy, big ideas and immersive storytelling, this is a production that will appeal to long-time fans of Adams’ work as well as those discovering its joyful madness for the very first time. The Hitchhiker's Guide To The Galaxy Live Show will run from 15th November 2025 to 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 Warning: Side effects may include sudden existential dread, unexpected hyperspatial detours and a burning desire for a really good cup of tea.

Image: The Hitchhiker's Guide To The Galaxy The Hitchhiker's Guide to the Galaxy, which opens at Hammersmith's Riverside Studios later this month, is an immersive stage version of Douglas Adams' classic five-part trilogy. Co-created and written by Arvind Ethan David (Lenny Henry’s Boy With Wings ,  Dirk Gently’s Holistic Detective Agency  on Netflix ) , the show sees audiences join Arthur Dent, Zaphod Beeblebrox, Fenchurch and more on a search for answers to the mystery of Life, the Universe and Everything, armed only with a towel and one very depressed robot. Ahead of the show's opening, we spoke to Arvind Ethan David to find out more about why an immersive adaptation felt like the right format for the experience, how he's balanced writing a show that appeals to both life-long and new fans, and where audiences can expect to find themselves once they've hitched a ride and escaped the destruction of Earth with seconds to spare. Immersive Rumours: Hi Arvind! Thanks for speaking with us today. Do you mind introducing yourself and explaining the part you’ve played in bringing this new immersive staging of The Hitchhiker’s Guide to the Galaxy to life? Arvind Ethan David: I'm the writer and co-creator of the show. I had the idea that The Hitchhiker's Guide to the Galaxy wanted to be a piece of immersive theatre back in 2020, in the dark days of lockdown and pandemic, and started reaching out to friends and potential collaborators. Five years later, here we are with an amazing creative team and company, and it's about to open. It's exhilarating and terrifying in about equal measure... IR: Your relationship with Douglas Adams and his work stretches back to your teenage years. Do you mind explaining how you first came to meet, and tell us a bit about the impact that relationship has had on your life, both personal and professional? AED: We met when I was 19 and adapted his other masterwork series, Dirk Gently's Holistic Detective Agency , as a student play.  He came to see it and took an interest in me, and without really intending to, started my career. 30 years later, I've made dozens of episodes of television, written many books, produced many movies and made a lot of theatre, but I can still trace everything I've ever achieved, and most of the major professional relationships in my life back to that moment and the time I spent with Douglas in the subsequent decade. He didn't necessarily mean to be a mentor, but that was the effect of him, like a comet streaking through my universe; he took me along with him, debris in his wake and happy to be so. Image: The Hitchhiker's Guide To The Galaxy IR: While Hitchhiker’s has been adapted into various mediums over the years (including a TV series, film and video game), it’s been a long time since there’s been a true stage adaptation of the series. When you first began having conversations about creating this show, was it always envisioned to be an immersive production, and why did that feel like the right choice for this adaptation? AED: The problem with adapting Hitchhiker's Guide into most conventional mediums is that it is not a conventional linear narrative. It doesn't want to fit in a three-act structure; it won't be pinned down by Robert McKee. So you need a medium that is as mad, inventive, and fluid as the story itself is. That's immersive theatre.  The hero of The Hitchhiker's Guide to the Galaxy is Arthur Dent, an ordinary man to whom extraordinary things - most of which he does not understand - happen, apparently at random. This is a perfect hero for immersive theatre, because the audience gets to BE Arthur. They get to experience an out-of-control universe that makes no linear sense, but has a tone and a feel and a shifting perspective that invites them to turn their lives upside down. IR: The show is taking over quite a large chunk of Riverside Studios when it opens, which is fitting for a show that takes place in several corners of the universe. Where can audiences expect to find themselves, besides in the Horse and Groom pub, frantically trying to finish their drinks before Earth explodes? AED: That would be telling, but the Heart of Gold and a Vogon Cargo Ship are our modes of transport, and we may or may not get to swing by a legendary planet inhabited by someone whose name is not important. Image: The Hitchhiker's Guide To The Galaxy IR: When writing the show, how did you find trying to balance creating a story that’s both satisfying for long-time fans - who are incredibly familiar with the source material - and accessible for those new to the story? AED: The secret to adapting Douglas Adams, is you can't adapt Douglas Adams. His genius was his own. He knew better than anyone that when taking his story into a new medium, you had to reinvent it, and he was blissfully unbothered by consistency or "canon". To Douglas, Hitchhiker's Guide was the well that kept giving, that allowed for infinite variations (and infinite improbability). We've taken the same approach.  All the favorites - Arthur, Zaphod, Ford, Trillian, Marvin, etc - are there, but they aren't just reciting the greatest hits. They are alive and telling a story as it happens to them, for the very first time.  There's plenty of easter eggs and deep love and respect for the genius of the original; the fans will see that, but there is also our attempt to tell the story the way that Douglas might have told it if he was around today, and that means doing something new and making it accessible to folks who have never heard of Arthur Dent.  IR: Finally, with rehearsals now underway, how has it been seeing the show’s script come to life with the live cast and creative team all under one roof? AED: I've made 9 movies, 4 musicals, dozens of episodes of television, written books, graphic novels, radio plays and board games. Many of those things have won awards and done well. I can honestly say I've never done anything as challenging, exciting and entirely mental as this. The cast and creative team (led by our directors Georgia Clarke-Day, David Frias Robles and Simon Evans) are world-class, and giving their all.  Every day is exhausting and inspiring. Or to put it another way, full of excitement, adventure and really wild things... IR: Thanks for taking the time to speak with us today, Arvind. We’ll be sure to grab our best towel ahead of coming down to Riverside Studios later this month. Photos: The Hitchhiker's Guide to the Galaxy The Hitchhiker's Guide To The Galaxy Live Show will run from 15th November to 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 Follow Immersive Rumours on Instagram , X and BlueSky to stay up to date with all the latest news and reviews from London's immersive and interactive theatre scene.

Image: Inventive Productions This September, London opens the iron gates to Hexmoor, an immersive cocktail adventure like no other - where dark magic runs deep, potions flow freely, and you become part of the story. From the minds behind viral sensations Alcotraz, Moonshine Saloon, and Avora, comes a thrilling new theatrical experience set inside a wizarding prison and cell block for sorcerers, where potions are your only way out. Alongside our world exists an unknown and unseen magic world. Those who commit crimes of dark arts within this world get sentenced to Hexmoor, a hidden penitentiary for rogue sorcerers. You will start your experience by being pulled out of the ordinary world into a secret passageway that leads to the large iron gates of Hexmoor. You will be met by Cordelia Constance-Xanthe, a powerful sorceress and the Head of Hexmoor Penitentiary, who will introduce the inmates to their new life behind bars - a life complete with the consumption of ‘potions’ that work to dampen the magical abilities of the prisoners. Image: Inventive Productions The day that you are convicted is of great importance, as it is the day on which a prophecy talks of the rise of an evil dark wizard and a team of prisoners who will defeat them. During your time at the ‘magical bar behind bars’, you can expect to cross paths and collude with the wizard prisoners of Hexmoor and the guards who contain them, discover secret areas and even travel through an ethereal portal, hidden within a fireplace in Hexmoor, to a real working Wand Shop.  Visiting inmates will don their official jumpsuits and rub shoulders with the notorious dark arts wizards who call Hexmoor home. Combining immersive theatre, film-like set design, magical special effects and world-class cocktails, Hexmoor will transport you to a world you can only imagine. Whilst the immersive experience unfolds, guests will enjoy three magical cocktails crafted by a team of mixologists, or more appropriately, hexologists. Intended to dampen abilities, with the right hex, these potions will enhance your time behind bars.  Image: Inventive Productions Created by Inventive Productions, the team behind the world-famous prison cocktail experience Alcotraz , the Wild-West world of Moonshine Saloon and the out-of-this-world Avora , Hexmoor is the world’s first immersive, wizarding prison experience and promises guests the experience of mysticism and alchemy.  Sam Shearman, creator of Hexmoor and founder of Inventive Productions, comments: Having successfully launched various experiences that cross multiple genres and themes, we can’t wait to take the best bits of them all and combine them into the hugely exciting wizarding world of Hexmoor. Our hope is to bring something entirely new to the interactive and immersive space, offering a little bit of escapism and fun to our audience. Hexmoor runs from 19th September 2025 near Hoxton station. Tickets are priced from £44.50 per person, and include three cocktails. For more information, and to book tickets, visit hexmoor.co.uk

Photo: Inventive Productions Hexmoor: Wizarding Prison is the latest show from Inventive Productions, the company behind Alcotraz, Avora and Moonshine Saloon - three of London's best-known immersive cocktail experiences . Based within the same venue as Alcotraz (a short walk from Hoxton Overground station), Hexmoor invites guests to serve their time behind bars under the watchful eye of Cordelia Constance-Xanthe, a sorceress who's said to dabble in the dark arts. Over 105 minutes, Hexmoor combines immersive performance, pyrotechnics and interactive sets to deliver a story which centres around an ancient prophecy that threatens the lives of everyone within its walls. Much like Inventive's other shows and Secret Cinema productions of years gone by, the experience begins before arriving at the venue with an online form. Sent on behalf of the Bureau of Arcane Order, the form is designed to determine guests' crimes and flesh out their own backstories, giving them a jumping-off point for conversations with the cast during their visit and easing them into the show's world. Depending on each guest's chosen magical discipline, many potential crimes are offered up, ranging from Grand Theft Brooms and reckless creature conjuring to trading cursed artefacts. Photo: Inventive Productions Once at the venue, guests receive an in-world health and safety briefing before being escorted to the iron gates of Hexmoor and placed under the supervision of Jamie, a human guard from Indianapolis who's ended up at Hexmoor as part of an exchange programme. While he's enthusiastic and keen to make a good impression on his superiors, Jamie is fairly clueless about the inner workings of Hexmoor's magical world. Working alongside them is tiefling guard Aephon, who's much more clued up on Hexmoor and makes a menacing first impression, sprinting full speed down a torchlit corridor towards the freshly imprisoned audience. After a warm welcome from Hexmoor's head, Cordelia, in their office, convicts are ushered into their cells and told to put on their green and white Hexmoor jumpsuits (a more fashion-forward colour scheme than Alcotraz's mandatory bright orange attire). Each of Hexmoor's cells holds up to six people, with smaller parties being grouped together in the same cell if necessary. Soon after settling into their cells, guests are told about the ongoing disappearances of Hexmoor's prisoner population by fellow inmate Sidwell, who claims a prisoner has vanished from Hexmoor every night for the last two months. Cordelia, ever keen to keep their prison in good standing, denies any nefarious goings-on, but in the next breath, a prophecy echoes throughout the prison, speaking of the evil Hollow King's return and the need for those within Hexmoor to find the fabled Cardinal Wand and get it into the hands of the 'chosen one' before the clock strikes midnight, lending credence to Sidwell's theory. Photo: Inventive Productions Much of Hexmoor's storyline comes via scenes performed by the cast in the centre of Hexmoor's main space. They're a notable step up in terms of production value from Inventive's other shows and feature pyrotechnics, dramatic lighting changes, choreographed fights and wand duels. Those in the farthest corners of the space may struggle to get a good sightline for some of these scenes, but the intimacy of the venue means that the key plot points still come across, even if prison bars obscure your view. Alongside the plot delivered through these key scenes, several curious tidbits are dropped by the show's cast during in-cell interactions, which happen sporadically throughout the show. They're a great opportunity to get answers to any burning questions, and as is the case with most immersive shows, the more guests put into these interactions, the more they'll get back. Across the board, Hexmoor's cast are happy to improv with prisoners, and deftly balance expanding the show's world and colouring in details of its overarching storyline with light-hearted moments of humour. Despite warnings of smoking and vaping (including Invisarettes) being banned within Hexmoor, tiefling guard Aephon can at one point be seen dealing invisible smokes to prisoners, offering freebies to those bold enough to ask, and interactions with Jamie and Sidwell concerning the crimes that saw guests end up behind bars often descend into banterous back and forths, as long as the show's rules, which prohibit crude and overly-friendly interactions with the cast, are respected. Photo: Inventive Productions While guests are confined to their cells for a lot of the show, there are several excursions that each group are taken on throughout the experience. The most substantial has guests casting a portal inside Cordelia's office to visit a wand shop in search of the Cardinal Wand. With a plume of green smoke and some magical words (improvised by a guest from each group), the office's fireplace gives way to a small corridor, teleporting guests directly outside the store. Inside, dusty boxes of wands are stacked up floor to ceiling, and further audience interactions with the eccentric Camomile (played by the same cast member as Cordelia) await. Later in the experience, small groups of guests are snuck out of their cells by Sidwell, who's keen to find out who they suspect of colluding with the Hollow King after revealing a hidden evidence board, complete with crude drawings of Hexmoor's staff and prisoners, all linked together with string and scribbled notes. Both of these scenes do a good job of involving the show's audience in the storyline, and their smaller capacity means that everyone has a chance to contribute, and much like in other Inventive Productions shows, it gives audiences some guaranteed face time with the show's cast outside of their cells. Photo: Inventive Productions Given the show's magical setting, it'll come as little surprise that several of Hexmoor's three included cocktails have flourishes that are in keeping with the world. Prisoners can expect to be served both a luminous green gin and elderflower cocktail that billows smoke and bubbles away, as well as a rum-based drink that changes colour with each additional ingredient throughout the experience, in addition to a third, slightly less visually impressive cocktail. Regardless of how Instagrammable each one is, they're also some of the best-tasting options on offer across all of Inventive Production's shows - likely helped by not requiring guests to provide their own spirits, unlike in Alcotraz and Moonshine Saloon. Those trying to apply logic and work out why prisoners would be served drinks while behind bars will be relieved to hear that these three cocktails are referred to in-world as potions, and are designed to dampen the magical abilities of the prison population. Photo: Inventive Productions Although it doesn't veer too far from Alcotraz's tried-and-tested structure, Hexmoor goes some way to building upon Inventive's original prison-based show and represents another ambitious step forward for the company, which has continually outdone itself with each new production. With a talented and committed cast, some great choreographed scenes and of course, three cocktails included as standard, it's hard not to fall under Hexmoor's spell. ★★★★ Hexmoor: Wizarding Prison is currently booking until 30th December 2026 on Hackney Road near Hoxton station. Tickets are priced from £53.95 per person and can be booked via hexmoor.co.uk For more reviews of immersive experiences like Hexmoor: Wizarding Prison, check out our recent Reviews .

From serving time behind bars, to out-of-this-world journey to other planets, London has no shortage of great immersive cocktail experiences. Here's our pick of the best on offer in the capital this year. Being immersed is often thirsty work... so we recently set ourselves the challenge of trying out some of the biggest and best immersive cocktail experiences that London has to offer. It goes without saying that this was a very rigorous undertaking, and the fifteen or so cocktails we've had over the last few weeks were purely for research purposes. We took no pleasure in drinking them, even if they were all delicious... Hexmoor: Immersive Wizarding Prison Photo: Inventive Productions Having opened in September 2025, Hexmoor is the latest experience from Inventive Productions. Already the city's foremost immersive cocktail experience creators, this new production is their most ambitious yet, and invites guests to don jumpsuits and serve their time behind bars in a wizarding prison. Upon entering, guests will be met by Cordelia Constance-Xanthe, a powerful sorceress and the Head of Hexmoor Penitentiary, who will introduce the inmates to their new life behind bars. As the immersive experience unfolds, inmates will enjoy three magical cocktails crafted by a team of mixologists, or more appropriately, hexologists. Intended to dampen abilities, with the right hex, these potions will enhance your time behind bars and may well aid in your escape. Expect to cross paths and collude with the wizard prisoners of Hexmoor and the guards who contain them, discover secret areas and travel through an ethereal portal, hidden within a fireplace in Hexmoor, to a real working Wand Shop. Combining immersive theatre, film-like set design, magical special effects and world-class cocktails, Hexmoor will transport you to a world full of dark magic and alchemy, and is one of the most exciting additions to London's immersive cocktail scene in recent years. Photo: Inventive Productions Your magical misdeeds have led you to a previously unknown wizarding prison. Will you play by the rules and see the light of day again, or descend into darker depths? Explore Hexmoor and you will find out soon enough. Experience a world of mysticism and alchemy at Hexmoor, the world’s first immersive, wizarding prison bar. Don your official jumpsuit and rub shoulders with the notorious dark arts wizards who call Hexmoor home. Combining immersive theatre, film-like set design, magical special effects and world-class cocktails, Hexmoor will transport you to a world you can only imagine. Photos: Inventive Productions 📍 Hoxton 💰 From £53.95 (includes 3x cocktails) 🕒 Ongoing 🎟️ Book via hexmoor.co.uk Avora: A New World Immersive Experience Photo: Avora Also from Inventive Productions, Avora invites guests to travel off-world to another planet inhabited by alien creatures and bioluminous foliage. Located in Hoxton, this 105-minute-long experience is the most visually stunning of Inventive's shows. Set across three main spaces in their basement venue, it's taken a healthy amount of inspiration from the Avatar film series, and is the closest thing you can get to visiting Pandora this side of the Atlantic. Guests are all given a jumpsuit upon arrival that's embroidered with the logo of Roscorp - a tech conglomerate they'll be acting on behalf of during their journey. We'll leave it up to you to decide if Roscorp's true intentions for exploring far-off planets are noble or nefarious (spoilers: they're not good..), but at least you're there in good faith, acting as scientists on a fact-finding expedition. Starting in the Roscorp laboratory, there's a bit of hands-on mixology as you mix various test tube liquids to create your first cocktail, which billows smoke once combined. Later in the experience, you come face-to-face with the native Avorans who take a real interest in your lives back on Earth. Intent on learning all they can from their new human visitors, you may find yourself trying to explain the most basic of human concepts to them with mixed results. These interactions are all infused with humour and playfulness, and are the stand-out part of the show. Without spoiling what unfolds in the latter half of Avora, the new equilibrium with the Avorans and Humans being on good terms is short-lived, and you're soon confronted with Roscorp's true reasoning behind these expeditions to the luminous planet. Photo: Avora Avora is a first of its kind cocktail adventure where guests can discover a brand-new world engulfed in mystery and wonder, brought to life through awe-inspiring theatrical sets, unique cocktails and a cast of talented actors. Step through the newly discovered gateway into the magical world of Avora! Meet with locals and explore the world to discover three extraordinary cocktails you will enjoy. Watch in awe as the world turns from day to night, and witness the mysterious and magical beauty of the lush new land. Be prepared, things are not what they seem, and you will have to make a decision on the fate of the world! Will you look to exploit it or will you help protect Avora! Photos: Avora 📍 Hoxton 💰 From £40.50 (includes 3x cocktails) 🕒 Ongoing 🎟️ Book via feverup.com Moonshine Saloon: Immersive Wild West Experience Photo: Moonshine Saloon It's 1904 in the town of Coldwater. The sun is setting on the glory days of the Wild West, and everyone's attention has turned to what is next for those trying to achieve the American Dream. Within the confines of Moonshine Saloon, tensions are high between the Cassidy family and the local law enforcement. It's a year to the day since the Saloon's previous owner was gunned down in cold blood, and the Cassidy family are still looking for answers. You've been invited by Clyde Cassidy, who is looking to expand their moonshine business nationwide. Though their wife isn't best pleased with the fact Clyde has been operating this clandestine operation out the back of the bar, business appears to be booming, and you're there to ink a deal and get in on the action. Across this 1 hour 45 minute experience, numerous scenes play out both in the main Saloon and several hidden spaces within the Saloon. It's the classic story of the outlaw and local law enforcement butting heads, complete with shootouts and plenty of raised voices. Guests are kitted out with cowboy hats and ponchos upon entering, and their choice of spirits (which need to be brought with them to the venue) is incorporated into four cocktails across the show. Those looking to be slightly more involved in the narrative can purchase option character add-ons, including becoming The Mayor, Deputy Sheriff or Brothel Keeper. Ideal for the outgoing types, they'll be called on throughout the show to add an extra layer of interaction. For our visit, the Mayor had to deliver a series of campaign pledges to ensure their re-election. Photo: Moonshine Saloon Howdy, y’all! Behind the swinging doors of the Moonshine Saloon, new outlaws can rub shoulders with the locals, try their luck at cards or dice games and enjoy a barrel load of illicit drinks. Just be sure to keep yourself quiet if the Sheriff is in town and asks any questions… he’s come close to catching Cassidy before! Photos: Moonshine Saloon 📍 Liverpool Street 💰 From £35.99 (includes 3x BYOB cocktails) 🕒 Ongoing 🎟️ Book via feverup.com Alcotraz: Immersive Prison Cocktail Bar Photo: Alcotraz Likely the most well-known of Inventive Production's immersive cocktail experiences, Alcotraz has been a mainstay of the London immersive experience scene since 2017. Guests are invited to don orange jumpsuits before serving them time in this underground prison-themed bar, which will see them play a part in a rebellion against the venue's Warden, who has a firm dislike for all things alcoholic. Upon entering, you're placed in a holding cell while you await processing. Soon, you're led through a metal detector and handed your orange jumpsuit - a staple of the experience since its inception. Alcotraz operates as a BYOB venue, so your first task is sneaking your spirits into the cells without arousing suspicion - something that's made a lot easier thanks to the hollowed-out Bible you're handed by one of the prison's crooked guards. Once inside your cell, there are 4 cocktails prepared for you with the spirits you smuggled in across the 1-hour 45-minute long experience. The wider story that plays out around you is a power struggle between Cassidy, one of the inmates whose parole has just been denied, and the Warden, who is hell-bent on maintaining order within Alcotraz. There's a good amount of interaction with Cassidy, the Warden and the guards throughout the experience, who will all keep you occupied with a variety of tasks. We found ourselves folding laundry at one point, which led to us finding a blueprint inside one of the jumpsuits. There are also a couple of short excursions outside your cell, including getting your mugshot taken and, for us, a visit to Cassidy after they're locked in solitary confinement. A potential visit to the Warden's office is also on the cards to plead your innocence or guilt. Photo: Alcotraz Following a life of crime, the law eventually caught up with Mr Clyde Cassidy and his gang of moonshiners and bootleggers. After a decade of running America’s most notorious liquor smuggling empire, their criminal activity eventually led them to life behind bars at the newly established Alcotraz Penitentiary. Most of the details of the Penitentiary remain only in the knowledge of a select few Government Officials, however, what is known is that there are a collection of secret Cell Blocks dotted all over the country, which serve as home to the worst of the worst. Sometimes incarceration can’t change bad habits and the Cassidy gang have managed to turn the Guards of Alcotraz crooked, bribing them to help newly convicted inmates successfully smuggle in liquor past the Warden. Will you join the gang and smuggle liquor behind bars? Photos: Alcotraz 📍 Hoxton 💰 From £48.50 (includes 4x BYOB cocktails) 🕒 Ongoing 🎟️ Book via alcotraz.co.uk Phantom Peak's Cocktail Trail Photo: Alistair Veryard Phantom Peak is an immersive experience we've covered extensively on Immersive Rumours over the past three years. With four brand-new seasons on offer each year, it's a show that's constantly developing and changing. Guests can explore the 30,000 sq feet town of Phantom Peak for up to 4 hours at a time, jumping into any of the ten different storylines on offer at their own pace. With a large cast of actors scattered around town, guests can easily end up speaking to a dozen of Phantom Peak's townsfolk in one visit and only scratch the surface of what's on offer here. Alongside the ten main storylines available each season, Phantom Peak also offers a cocktail trail for those willing to put in the steps for their drink. The storyline of these cocktail trails changes each season, but typically they have guests exploring the town to uncover which ingredients make up the final reward for their hard work. Just like with every other storyline at Phantom Peak, these cocktail trails are wonderfully written, irreverent, and with a stellar cast of actors across the town, hugely engaging. Considering the cocktails at Phantom Peak will run you anywhere from £9.50 to £11 each, and with an exclusive cocktail only available to those who take part in the trail, it's good value if you want to indulge in one of them anyway. For the avid Phantom Peak card collectors, there's also a trail card included for those who take part. Photos: Alistair Veryard A brand new cocktail experience, courtesy of JONACO. Explore the town to discover a new story each season, before meeting back at the Thirsty Frontier Saloon to make your own cocktail (or mocktail) to enjoy. 📍 Canada Water 💰 From £30.00 (Show Admission) + £19.99 (Cocktail Experience Add-On) 🕒 Ongoing 🎟️ Book via phantompeak.com For the latest news and updates on all things immersive in London, follow us on Instagram .

Peter Broughton's adaptation of Frankenstein, which plays out for an audience of one each performance, is one of this year's most exciting new immersive productions. Image: Creature/Peter Broughton This review contains descriptions of some events within Creature. Written and directed by Peter Broughton (best known for playing Dionysus in the original Crypt and Hoxton Hall runs of Sleepwalk's Bacchanalia ), Creature is an intimate, immersive production for a single audience member. It blends puppetry, binaural audio and immersive performance to create an experience that feels equal parts immersive show and theme park dark ride. Inspired by Mary Shelley's 1818 gothic novel Frankenstein , this 20-minute-long show places its sole audience member into the role of Victor Frankenstein, kidnapped on his wedding night by the vengeful creature he abandoned. Each performance's single audience member sits in a wheelchair and is pushed and pulled through the space by a masked Igor (Jessica Southwood) while wearing headphones, through which the majority of the show's dialogue and atmospheric soundtrack (created by Hanna Gardner) is delivered. Alongside the pre-recorded audio is a series of striking visual sequences that see the audience, amongst other things, thrown across the space, looking into the past, and engulfed in flames. The show's centrepiece is an arresting life-sized puppet of the creature (played by Peter Broughton), which is hellbent on exacting its revenge on Victor, and narrates the show in between menacing growls and snarls, commanding every moment of the audience's attention. In the best way possible, Creature is a hard show to categorise. While it's unequivocally a piece of immersive theatre, it refuses to fit neatly into any of the typical immersive boxes, offering very little agency, no influence over the show's narrative, and no freedom to move around the space as they wish. However, what the audience gives up in autonomy is made up for tenfold thanks to the show's meticulously timed, cinematic approach to storytelling, which is unlike anything else we've ever experienced in an immersive production. To sit down in the wheelchair is to give yourself over to becoming the focus of a terrifying, gothic-infused fever dream. Photo: Creature/Peter Broughton The show's initial run, which took place in the Boat Tunnel at COLAB Tower (a venue fast emerging as the de facto home for new immersive work in London) as part of COLAB's inaugural Invitational Theatre Festival , sold out almost instantly. While a scarcity of tickets is often the case with buzzy one-audience-member shows like Creature, this first run at COLAB Tower sold out before the show had even been officially publicised on its social media channels - likely off the back of Broughton's name and die-hard immersive fans' familiarity with their previous work on Sleepwalk's Bacchanalia. When we sat down with  Peter ahead of the show's opening, they cited the work of Jim Henson as the catalyst for their lifelong love of puppetry. While what they've created in Creature is a far cry from the kinds of puppets Henson produced throughout his career and a departure from the style of puppetry audiences might recall from Bacchanalia, Broughton's passion for the form is evident long before the creature's terrifying design is fully revealed. While we're not going to divulge any specifics about the puppet (which was hand-made by Broughton with additional textile work by Audrey Rodriguez), we can share that when you're sitting in the wheelchair, it towers over you and feels like it could swallow you whole. In the rare moments where its focus isn't on you, and the creature isn't hunched over to meet you at eye level, its head comes perilously close to scraping the ceiling of the show's venue. It's a sight to behold, and when it's looking directly at you, it's incredibly unnerving. One of Creature's most interesting elements (looming, terrifying puppet aside) is how the audience's attention and field of view are managed while they're sitting in the wheelchair. Throughout the show, every movement is choreographed down to the second, with the show's cast working in tandem to manually shine torches, getting into position for upcoming scenes, and triggering smoke machines and video elements, all in time with the show's evocative pre-recorded audio. From slow creeps forward to rapid 360-degree circles around the creature as it writhes on the floor, there are very few moments where you're not being moved through the space, and at all times, your field of vision and focus are dictated by those movements and position in the space. Alongside delivering a cinematic, movie-like experience, in which the audience is always perfectly placed for the unfolding scene, the audience's ever-changing sightlines also allow the show's five-strong team to perform some really impactful sleight of hand within the space, swapping out elements of the set when your back is turned, keeping audiences on the backfoot, constantly questioning what else could be happening around them when they're not looking. Photo: Creature/Peter Broughton Pre-recorded video content, at times, plays out through TV screens and projections, offering some wider context for both the creature's actions and the show's wider world. Those who attended Sleepwalk's Bacchanalia will spot a familiar face in Elizabeth (Maya McQueen), alongside an unmasked Broughton, who makes a short cameo as a newsreader. The rest of the show's video cast is made up of Mei Mei MacLeod as a second newsreader, Charles Stagg as William and Ben Mallett as the pre-recorded version of Victor. In immersive theatre, the one-on-one has always been highly sought after. Whether it be self-contained shows like The Manikins  or Undersigned , or fleeting, private moments within larger immersive worlds from the likes of Punchdrunk, their impact on those who experience them is long-lasting. Alongside making that one audience member the focus of the performer's attention and placing them at the centre of the experience, below the surface, there's a recognition that everything being performed, regardless of how complex the show is, is for the benefit of one person. It's a humbling position for an audience member to exist in, and the exchanges within these moments, however big or small, often hold more weight purely because it's just for them. Within Creature, there's an extraordinary amount of effort being exerted for the benefit of that one audience member. None of the show's lighting is pre-programmed - it's all done by torchlight at the hands of the cast. None of the movement and environmental changes are mechanical - they're all done by manually. None of what they experience would exist without the show's cast (made up of Peter Broughton, Jessica Southwood, Alice Elsie Thomas, Elena Sirett and Puck) pulling off every element of the show, in the moment and in unison, just for them. To do all of that, flawlessly, for a single person's applause and appreciation may be somewhat of a thankless task, especially when the team are all masked and it's nigh-on impossible to tell who is doing what in the moment, but the collective impact of that work on the audience's experience can't be understated. As is often the case with experiences for just one audience member, the ticket price for Creature is high, costing anywhere from £90 to £100 per performance. Despite being a short piece (clocking in at a little over 20 minutes from beginning to end), it's clear that the show's price is a necessity, especially given the cast size, which is nearly twice as big as that of shows like Undersigned and The Manikins. Photo: Creature/Peter Broughton Creature is one of the most exciting new immersive productions to have opened in London this year. Much like during Sleepwalk's first run of Bacchanalia at Crypt, Creature's debut outing feels like it has the potential to go on to become a much larger experience if the stars align. While there's no way of knowing what the future holds for Creature, in its current form it's a perfectly realised, fiercely original experience that's unlike anything else out there. If you can secure a ticket, count yourself lucky, because it's one hell of a ride. ★★★★★ Creature will run at COLAB Tower from 30th October to 1st November 2025. Tickets are currently sold out, but you can stay up to date on future performances via @creature.immersive on Instagram. For more reviews of immersive productions like Creature, check out our recent Immersive Reviews . Stay up to date on the latest immersive theatre news by following Immersive Rumours on Instagram .

Photo: Matt Crockett This Christmas, globally-acclaimed scene makers DesignScene and immersive storytellers Secret Theatre will present The Nutcracker Noir - a brand-new immersive dining experience and modern reimagining of the classic Christmas tale that promises to be THE festive dining show of the season. Transforming Protein Studios in the heart of Shoreditch into a festive extravaganza for a limited time (26th November to 21st December 2025), this immersive dining experience combines world-class performances, mischief and theatrical storytelling with decadent dishes from immersive dining specialist Jenny McNeill at Feast & Fable (Gingerline, Fat Duck). Inspired by Tchaikovsky’s 1892 ballet, this dazzling show follows the story of an orphan raised in a fantastical world, Clara, as she searches for her long-lost father and somehow ends up directing her own wild adaptation of The Nutcracker in her quest to save her father’s theatre. Through striking immersive design and next-level storytelling, guests will be taken on an otherworldly adventure as they make their way through five interactive spaces filled with captivating performances, hidden surprises and extraordinary characters – think secret spaces, Christmas bodegas, fantasy elves and a journey to the North Pole – all preparing them for the incredible night ahead as they emerge into the spectacularly grand theatre for the main show. The Nutcracker Noir features a truly exceptional cast, showcasing some of the brightest talent fresh from London’s West End. Anita Nicole (The Lord of the Rings: The Rings of Power, Amazon Prime) takes centre stage as Clara, joined by Jairus McClanahan (Hamilton) as her younger brother Frank Zane, and Patrick Wilden (Cabaret, Stage Door) as Jazz, Frank’s best friend and a fellow lost boy. Photo: Matt Crockett The cast also includes a stellar lineup of immersive and musical theatre performers: Christopher Howell (Punchdrunk) as Elf Eldar, Jessica Alonso (Pelotas, Vampire Virus, Art of Dying - Hong Kong, The Great Gatsby - Madrid) as Madame Zel, a theatre critic who plays a key role in the show’s direction, and Shoko Ito (Wicked, Matthew Bourne’s Sleeping Beauty and The Nutcracker) as Clara’s best friend, Angie. David-Michael Johnson (The Bodyguard, Starlight Express and Dirty Dancing) appears as Clara’s long-lost father, and Alex Codd - renowned for his work as Assistant Choreographer to Gary Lloyd on Rehab and most recently as choreographer on Beauty and the Beast - joins the story as a mysterious outsider whom Clara entrusts to help bring the Nutcracker to life. Photo: Matt Crockett Rounding out the ensemble, Tianna Sealy-Jewiss (BOMBAY SUPERSTAR, Rock of Ages, Cross Roads) plays Future, a phenomenal dancer who has lost their way and finds renewed inspiration through Clara. Phoebe Coray (Celebrity Cruises, Sex Education on Netflix, War 2, The Collection on Amazon Prime) plays Flow, a wild Welsh talent who caught Clara’s eye as London's most fantastic specialist performer. Finally, Safeena Ladha (39 Steps - West-End and UK tour, The Great Gatsby, Immersive Everywhere; Dracula - A Comedy of Terrors) steps into the role of Saffy the Deck Slayer, blending movie quotes, game sounds and pop culture references between nostalgic tunes to create her signature DJ style. Entertained at every turn, The Nutcracker Noir promises to be the ultimate Christmas dining experience. Filled with fun, frivolity and flamboyance, the experience allows guests to be as involved in the storyline as they like – whether they want to be at the heart of the action or prefer to sit back and take it all in. Together, this dynamic ensemble will deliver soaring vocals, powerful drama, and a touch of mystery, elevating the immersive Christmas dining experience to extraordinary new heights. Adapted and co-directed by immersive pioneer Richard Crawford (SE7EN / The Great Gatsby), co-directed and choreographed by Gary Lloyd (Thriller Live / Heathers) and co-produced by Atilla Keskin , founder of DesignScene (Amazon MGM Studios, Apple, Pinterest and Bacardi), the production will feature some of the city’s finest talent. Photos: Matt Crockett Designed for groups who love the unexpected, twinned with a hint of the decadent, The Nutcracker Noir promises guests a seasonal experience like no other and is set to create a new standard for festive dining experiences. Showcasing a uniquely designed food and drink concept curated by leading immersive dining specialist Jenny McNeill’s Feast + Fable (Fat Duck, Gingerline), combined with original storytelling and a newly imagined world, it truly is the ultimate Christmas party. The waitlist will open from 25th September, and tickets will be available to purchase during the general on-sale from 30th September 2025. 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 (Show Ticket) and £180 for a shared Club Table (inclusive of a three-course meal). VIP tickets range from £240 to £300 per person. 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 three-course meal). To book tickets and find out more, visit nutcracker-noir.co.uk

Image: Peter Broughton Immersive Rumours: Hi Peter, thanks for speaking with us today. Do you mind introducing yourself and telling us a bit about where people would know you from? Peter Broughton: I'm Peter Broughton. I'm an actor, puppeteer, and immersive theatre maker. People probably best know me from Bacchanalia, which I co-created and assistant-directed, and also performed in as Dionysus. I’ve also been in shows like Phantom Peak and The West with COLAB Theatre, and last year I was Paddington Bear in Paddington Lo-Comotion in Oxford. IR: How long have you been working in the immersive world for? PB: At the tail end of the pandemic, I got a job at Doctor Who: Time Fracture and moved to London. I'm a huge Doctor Who fan, so I was stoked to be involved in any way. Soon after, I also started working at The Great Gatsby immersive show, which was upstairs in the same building, so I’d be running up and down between the two, meeting people and networking as I went. It was a really magical time, and I developed a nose for who was interested in making work and who I could collaborate with. In traditional theatre, if you’re at the box office, you can’t stop a huge TV executive who happens to be passing through and say, 'Hi, here’s why I’m perfect for your next project', but in immersive, you’re already within the performative space. Photo supplied by Peter Broughton IR: At the end of September, you’re debuting Creature as part of COLAB Invitational Theatre Festival. Can you tell us a bit about the show and what people can expect? PB: Absolutely. Creature is a one-audience-member experience. In the show, you’re Victor Frankenstein, kidnapped on your wedding night, and physically moved through the space in a wheelchair. The story is told by the creature, who keeps reminding you, 'I told you I’d be here. You knew this was coming.' It’s about rejection and abandonment, told through immersive techniques, puppetry, and binaural audio. It’s intense but relatively short. IR: As you just mentioned, Creature is only for one audience member at a time. What is it about that format that’s so interesting to you as a creator? PB:  With large-scale, free-roaming immersive shows, storytelling can get lost. Scaling everything down and making it clearer is the way to go. With my work as part of Sleepwalk, I was adamant that all the key bits of plot were visible and that all the key story moments happened when everyone came together. Seeing The Manikins: a work in progress made me realise that creating a one-audience-member show was achievable for me. I also noticed just how popular one-on-ones are at Punchdrunk, when fans rush to get into them. They really want that exclusive private moment, and it showed me the level of demand for this kind of experience. IR: What drew you to Frankenstein as the source material for the show? PB: This show is a very unfaithful adaptation. It's not so much about a man playing god; it’s about the creature itself. It explores how it feels to be created only to be discarded. My biological father left when I was very young. That raw feeling of 'You brought me into the world - step up!' is huge for me. In the show, the creature feels the same sense of abandonment. He’s one of a kind, completely alone, needing his creator’s support, and he’s not shy about letting you know when he’s angry, confused, or about to do something really unpleasant. I resonate with that energy, and it’s at the heart of the piece. Photo: Alex Walton IR: And where did the decision to have the audience sit in a wheelchair for the duration of the show come from? PB: Accessibility. Too often, shows advertise wheelchair access, then surprise you with stairs. Here, the wheelchair is built into the show. My parents have mobility issues and struggled to see past shows, so it made sense to design it this way. I’ve also found the movement of the chair a useful creative tool: in this show, the set, the lights, the characters, and even your seat are puppeteered. IR: Speaking of puppets, within the show, you’re going to be puppeting the creature. Who else is involved in this run at COLAB Tower? PB: I’ve been working on the audio with Hanna Gardner, my best mate from university. She’s an amazing musician, and the binaural audio is one of the most important elements of the show and really shapes the audience’s experience. My other pals, Jessica Southwood plays Igor, Elena Sirett is handling lighting and stage management, and Alice Thomas has a secret role. The show’s textile and graphic design is by my beautiful partner, Audrey Rodriguez. We recently recorded some of the audio at Hanna’s flat, and I was screaming into a mic while her cats looked at me like, 'What is happening?' Moments like that are why I love immersive theatre: it’s unpredictable and a bit weird. IR: You’ve had opportunities to do puppetry previously, most notably in Bacchanalia and Paddington Lo-Comotion, but is Creature the first time you’ve had total control over the use of puppetry? PB: Yeah. Thanks to the Kickstarter, I’ve been full-time on this project for a couple of months. It’s a huge privilege. Stressful? Absolutely. But creatively, it’s been incredible. I’ve learned new skills and had the chance to make something with friends I trust. I'm excited to be able to work on my craft in both puppetry and immersive theatre. Peter Broughton in Bacchanalia (2023) Photo: Ivy Corbin IR: How have you found designing and creating the life-size puppet for the show? That must be quite the task. PB: Yeah, it’s a challenge. I had to find the right level of creepiness. Inspired by Don’t Hug Me I’m Scared, we're mixing familiar children’s TV aesthetics with horror. It’s a full-body puppet designed to be operated the same way as Big Bird from Sesame Street. I love making puppetry for adults: people often assume it’s kids’ stuff, but after a little while, the audience starts connecting with the puppet and forgetting about the puppeteer. Big puppets like in [the West End version of] Totoro or the ones in Spirited Away help immerse you in the world, and kids do it naturally because they’ve not been told to stop imagining yet. IR: And where do you think your love of puppetry came from? PB: VHS tapes of the old Muppet movies. Jim Henson’s work is magical: his characters balanced chaos and gentleness, like Gonzo firing himself out of a cannon one second and singing a heartfelt song the next. I recently saw some of Henson’s puppets in New York, and it was a very emotional experience for me (ask my girlfriend). Seeing his full-body puppets in the same room, like Big Bird from Sesame Street, helped me understand how it functions. I also saw Kermit and completely lost it. My girlfriend was like, 'Aw, honey, why are you crying over these puppets?' IR: I think I would have the same reaction to be fair… PB: I was like, 'It’s Kermit! What do you want me to do?!' Growing up with that, it really shaped how I think about puppetry, and now working in immersive theatre, it seemed like a no-brainer to merge my passions and create something for people like me - who cry at puppets. Photos supplied by Peter Broughton IR: What do you think is next for Creature after the performances at COLAB Invitational Theatre? PB: Hopefully, festivals or wherever there are available spaces around London. I’ve been in talks to stage it at Vaulty Towers’ basement, or maybe even in the Vaults in Waterloo. Camden Fringe? The show can scale up or down depending on the space and opportunity. That’s the way I designed it. I’ll take anywhere that will have me. IR: Finally, where is the puppet going to go after this? PB: Honestly, I've got no idea. Right now, my flat has been taken over by the bloody thing. Hopefully, it’ll be brought out again, but in the meantime, it might have to live in my grandma’s garage. She’ll be really happy about that, I’m sure. Peter Broughton's Creature is at COLAB Invitational Theatre Festival  at COLAB Tower on the 26th and 27th September 2025. Tickets are sold out. To stay up to date on Creature, follow @creature.immersive  on Instagram. You can also follow Peter's work at @peterbroughtonactor on Instagram, and via peterbroughtoncreative.com

Guests step into a war-ravaged world and take control of their own digital avatar in DARKFIELD's latest immersive audio experience, Arcade. Photo: Kate Edwards After only a few months away from the capital, DARKFIELD has returned with a short residency at Shoreditch Town Hall. Their takeover of the Town Hall basement venue, The Ditch, is made up of three in-person debuts for DOUBLE, VISITORS and ETERNAL, which all previously premiered under the company's digital DARKFIELD Radio banner, and their latest show ARCADE, serves as the 'headliner' of the event. DARKFIELD is best known for creating 360-degree sound experiences delivered through headphones such as FLIGHT, COMA and S É ANCE, which use binaural audio, intricate sound design, sensory effects and complete darkness to immerse guests in intense audio-based shows that typically take place in their trademark shipping containers. Photo: Kate Edwards For the first time in a DARKFIELD experience, guests now have the agency to decide how their story unfolds. Taking control of Milk, an amnesic avatar dropped into the middle of an ongoing war between the North Block and South Block, guests respond to questions and prompts by pressing the single button on the panel of their individual arcade machine to answer 'Yes', with no response signalling 'No'. In addition, there's a coin slot and return tray to facilitate 'paying' for items such as guns and access to areas that are otherwise off-limits. They're all pretty limited ways of interacting with the story as it develops, but for something so basic, the paths it leads you down are branching and varied. Within ARCADE, these 'Yes' or 'No' decisions can have drastic consequences. A wrong answer can result in your avatar being killed at a moment's notice (something we found out less than a minute into our playthrough), and the trajectory of your story can veer off in a wildly different direction from what other guests are experiencing without you even realising how it happened. Photo: Kate Edwards Violence is near enough guaranteed within the world of ARCADE, regardless of whether you try to be a pacifist or mercenary, and with every bullet fired comes some practical effects built into the arcade machine that remove the barrier between what you hear and what you feel. There's a tension and anxiety built into the show's sound design that only amplifies as you get deeper into the experience, and every decision begins to carry more weight. Across the board, the voice acting is well done - Milk's emotionless, simple replies raise questions around just how desensitised they've become to the world around them, despite only just spawning in, and the wide range of creepy and opportunistic characters Milk meets along the way all carry an off-putting air to them. Photo: Kate Edwards It'd be redundant of us to give details on exactly what happened to our avatar during our time with ARCADE, as everyone's experience will differ greatly, but it's worth noting that the tone of this experience is much darker than any of DARKFIELD's previous work. Offhandedly, characters will offer up activities or new paths that'd turn heads and have the police called if said outside the confines of your headphones. The show's setting - a dystopian world in which the lives of people hold little value - goes some way to explaining why the characters Milk encounters are so void of empathy or compassion, but it's nonetheless surprising to hear people talk about shooting animals and children in the same way we'd suggest grabbing a coffee. Photo: Kate Edwards For completionists who want to explore every narrative diversion and unlock every possible situation, ARCADE might present a challenge with its limited run-time and expansive list of branching storylines. If you're happy to let your coins fall where they may and not stress too much about what you've missed out on, ARCADE is a unique and unsettling half-hour in a dystopian nightmare. Time will tell if DARKFIELD chooses to continue offering guests the same level of agency available in ARCADE, but if the choice were presented to us, we'd be tapping the button on our arcade machine. ★★★★ ARCADE is playing at Shoreditch Town Hall alongside three other DARKFIELD audio experiences until 17th April 2025. To book and find out more info, visit shoreditchtownhall.com For more reviews of experiences like DARKFIELD's ARCADE, check out our recent Reviews .

Photo: Mihaela Bodlovic Sitting upon a single pillow inside individual laundry roll cages, EULOGY has audience members exploring the endless corridors and rooms of a labyrinthine hotel. As always in a DARKFIELD show, they're in total darkness and wearing headphones, but the show's opening moments offer up a mechanic not present in either COMA or FLIGHT - the ability to respond to questions with simple answers, picked up through a microphone on each audience member's headphones. Accompanying each audience member on their audio-based journey is their assigned Companion, who both 'moves' them through the space and offers reassurances and guidance throughout (all delivered through whispers). In typical DARKFIELD fashion, exactly what's going on within the hotel is never made explicitly clear. All of the hotel's companions appear to be racing each other to get to the hotel's deeper levels as quickly as possible, but exactly what's required and involved remains elusive throughout. Try as you might to wrap your head around what's going on, you're always on the back foot, even though you're meant to be in control of your journey. Photo: Mihaela Bodlovic On a technical level, EULOGY does an incredible job of immersing you in the show's imaginary world. As you descend deeper and deeper into the subterranean hotel, your laundry cage gently vibrates, and the sound of lift doors opening is accompanied by a gust of air, signifying your arrival in another part of the hotel. While comments from your companion and other hotel staff about how the air gets thicker the deeper you go, thankfully, aren't recreated, the cumulative effect of the binaural audio and pre-recorded performances certainly makes it feel like it is. The mind's a crazy thing... ★★★ ½ This review of EULOGY is from DARKFIELD's London residency at Queen Elizabeth Olympic Park in October 2025. For more information on DARKFIELD and their upcoming shows, visit darkfield.org

Photo: Mihaela Bodlovic Set within a cross-section of a commercial aeroplane cabin, complete with a laminated safety card, working seatbelts, tray tables and overhead luggage compartments, FLIGHT invites audiences to experience two parallel realities at once. Taking inspiration from the many-worlds interpretation of quantum mechanics and the Schrödinger's Cat thought experiment (in which an animal inside a closed box is both dead and alive until observed), it places the audience into the role of the metaphorical cat, as both their death and survival play out in parallel, unobserved by everyone outside of the plane. Depending on your resolve, the above description is either going to be appealing or a terrifying proposition – and out of all the shows DARKFIELD has on offer during this London residency, FLIGHT is easily the most intense, helped in large part by having the most impactful motion effects. There's a persistent rumble of engines during take-off; moments of turbulence cause the cabin to jolt around, and of course, as the reality in which audiences don't survive plays out, the intensity of these effects ramps up considerably. While the show takes place in complete darkness, fleeting flashes of light through the aeroplane's windows help sell the illusion of flight even further, illuminating both the cabin and its seated passengers. Photo: Mihaela Bodlovic FLIGHT's use of binaural audio is perhaps the strongest of this residency's four shows, as the moments in which the chaos and carnage of the plane's destruction envelop its captive audience are rendered in terrifyingly realistic detail, with the sound of the fuselage ripping apart and the cabin being pummelled by the outside air becoming almost deafening. Even during FLIGHT's calmer moments, there's still plenty to raise the heart rate, including a chorus of crying babies (arguably worse than death), problematic passengers, and some pretty terse flight attendants whispering in your ear - all delivered through the show's excellent binaural soundscape. While the odds of being in a real-life plane crash are incredibly low, FLIGHT is a vivid reminder that every time we fly, we're placing our trust in people and things beyond our control. There's very little we can do to ensure our safety, besides making sure our tray tables are in their upright position and obeying the fasten seatbelt sign. ★★★★ This review of FLIGHT is from DARKFIELD's London residency at Queen Elizabeth Olympic Park in October 2025. For more information on DARKFIELD and their upcoming shows, visit darkfield.org