Photo: Secret Cinema Secret Cinema has today announced the full casting for the return of the critically acclaimed Grease: The Immersive Movie Musical. Joining the previously announced Stephanie Costi (Sandy), Lucy Penrose (Rizzo), Giórgios Michaelídes (Danny), Arcangelo Ciulla (Kenickie), and Ricky Wilson (Teen Angel) are Kieran Alleyne (Sonny), Charlotte Avery (Principal McGee), Em Barrett (Coach), Michelle Bishop (Blanche), Ziki Buswell (Jan), Leah Dane (Cha Cha), David Fearn (Johnny Casino, Alternate Teen Angel), David Heal (Leo Balmudo), Hannah Hague (Marty), Khyrese Heron (Putsie), Joshua C Jackson (Vince Fontaine), Andrew Jackson (Doodie), Imogen Kingsley-Smith (Patty Simcox), Jacob Stebbings (Eugene Felsnick), and Jess Smith (Frenchie), with Kingsley Campbell-Golding, Erin Corfield, Bella Donald, CJ Driver, Abiola Efunshile, Alex Hetherington, Max Ilett, Charles Potter, and Zaya Tserenbat. This summer, Secret Cinema is welcoming audiences back to Rydell High once more, following its sold-out run in 2025. The production opens at Evolution London in Battersea Park for a strictly limited run from 22nd July to 13th September 2026. Stephanie Costi as Sandy. Photo: Luke Dyson Each performance of Grease: The Immersive Movie Musical is a two-hour-and-fifteen-minute spectacular. From ‘Summer Nights’ to ‘Greased Lightnin’ to ‘We Go Together’, every iconic song from the beloved 1978 Paramount Pictures film comes to life as a knock-out cast and live band perform against multiple movie screens. From the moment they enter this modern live experience, audiences step into the world of the movie, exploring the iconic locations, including Frosty Palace, The Autoshop, and The Carnival and immerse themselves in school spirit, training with Coach Calhoun, cheering on the T-Birds, taking part in a choir practice, and even tasting 1950s American diner-style delights. Lucy Penrose as Rizzo. Photo: Luke Dyson The innovative production is brought to life by the multi-award-winning creative team of director Matthew Costain, set designer Tom Rogers, choreographer Jennifer Weber, lighting designer Howard Hudson, sound designer Gareth Fry, and video designer Ian William Galloway. Due to popular demand, the 2026 iteration of the production will feature even more themed Roam and Return seating, allowing audiences to explore the experience and return to dedicated seating at Frosty Diner or The Drive-In. Grease: The Immersive Movie Musical will run from 22nd July to 13th September 2026 at Evolution London in Battersea Park. For more info and to get tickets, visit greasetheimmersivemoviemusical.com

This live sumo dining experience delivers a one-of-a-kind night out for those looking to witness rikishis clash first-hand. But it's probably not one for the purists... Photo: Immersive Rumours Eight months on from elite sumo wrestling returning to the UK for the first time in 34 years with The Grand Sumo Tournament at the Royal Albert Hall, London-based sumo fans have another opportunity to witness the rites and rituals of the sport up close as Tokyo Nights takes over Greenwich Borough Hall until 8th July. Billed as a live dining and performance experience, Tokyo Nights combines a rotating line-up of retired rikishi competing in a series of bouts with a sushi and sake dining experience courtesy of Sticks'n'Sushi and Kay Sake. While the Grand Sumo Tournament is steeped in tradition and returned to the UK in part to showcase Japan's traditional culture to the world, Tokyo Nights takes a far more contemporary approach to showcasing the art of sumo, mixing one of the world's oldest sports with the kind of Western sporting spectacle most commonly associated with wrestling. It's a deliberate shift in presentation that gives Tokyo Nights a very different feel from a traditional sumo tournament. Photo: Immersive Rumours The bulk of Tokyo Nights revolves around a round-robin tournament, where all four rikishi compete against each other before a grand finale to decide the Tenko Muso ('One Who is Peerless Under Heaven' for us non-Japanese speakers). To win a bout, a rikishi must either get their opponent outside of the dohyō or get any part of their body besides their feet to touch the floor. With no height or weight divisions, rikishi of vastly different sizes can, and will, battle it out, overseen by a Gyōji, who also officiates the ring-entering ceremony. It's hard to deny that witnessing sumo wrestling in real life is a pretty thrilling experience, and it's certainly unlike anything else happening in London this summer. For newcomers, this 90-minute show serves as a solid introduction to the sport and will no doubt spark an interest in it for many, even if it's not presenting sumo in its purest form. Photo: Immersive Rumours To keep the energy within the venue high throughout, each section of the audience, from the Balcony and Action Zone to the Dining and VIP Dining areas, is assigned a different heya (traditional sumo training stable). Each heya is paired with a rikishi, with audiences encouraged to cheer them on throughout the evening. Helping to build that atmosphere is a cast of roaming performers - many of whom will be familiar to immersive theatre fans - who lead regular chants and rally support. Alongside those in the dohyō, Tokyo Night also features a charismatic on-stage host (David Fearn), who does an apt job of keeping things moving, and two ringside commentators (Emi Del Bene and Rob Thompson), who provide insight into the history of the sport and walk the audience through some of its finer points in between bouts, all of which provides some much-needed context for those fresh to sumo wrestling. Photo: Immersive Rumours Beyond the wrestling, Tokyo Nights leans heavily into theatrical presentation. Bombastic pre-recorded introductions give each rikishi the feel of a prize fighter, while slow-motion replays, vibrant lighting, luminous signage and striking Japanese calligraphy transform the art deco venue into a colourful sporting arena. Much of this succeeds in helping the audience invest in what's happening inside the ring, but there are moments when the presentation undermines the authenticity it aims to celebrate and causes you to question if the bouts are scripted in some way. The commentators, for example, frame the evening as a once-in-a-lifetime meeting between the competing rikishi, which wraps the entire evening in a quasi-fictional narrative that feels unnecessary when the wrestling itself is already hugely compelling. Photo: Immersive Rumours While the on-stage action is undoubtedly gripping, it only makes up part of the overall Tokyo Nights experience, with multiple dining options available depending on the chosen ticket type. Non-dining tickets - which make up the Balcony and Action Zone sections of the venue - allow guests to pre-order bento boxes from Sticks'n'Sushi, with a choice of karaage chicken, mixed seafood or vegan options, for an upcharge. Dining tickets - which place guests far closer or within touching distance of the dohyō - include a generous three-course meal featuring beef tataki, salmon, tuna and shrimp sushi, and a chocolate gateaux. If you've ever been to one of Sticks'n'Sushi's brick-and-mortar restaurants, you'll know what to expect. While it isn't especially memorable, it's consistently enjoyable and complements the evening’s main focus well. Photo: Immersive Rumours Tokyo Nights is at its strongest when the focus remains on the dohyō. The layers of theatricality surrounding the bouts won't be to everyone's taste, particularly those hoping for a more traditional presentation of sumo, but they succeed at creating an atmosphere that's welcoming and easy to invest in. The result is an enjoyable evening that blends sport, theatre and dining into an experience unlike anything else currently on offer in London while providing an accessible introduction to a sport that rarely reaches UK audiences. ★★★★ [Tickets gifted in exchange for an honest review] Tokyo Nights runs at Greenwich Borough Hall until 8th July 2026. Tickets are priced from £79.00 per person. For more information and to book tickets, visit tokyonights.com

Photo: FRAMELESS This Summer, FRAMELESS offers visitors a passport to the world’s greatest masterpieces, all under one roof in the heart of London. Boasting a collection of 43 artworks from world-renowned artists across 13 countries, FRAMELESS will welcome a brand-new artwork to its galleries on Friday 10th July - its most cinematic creation to date - inspired by Michelangelo’s celebrated frescoes in the Sistine Chapel. Housed within the immersive art experience’s third gallery, The World Around Us, the new artwork draws upon iconic frescoes from within the UNESCO World Heritage Site in Vatican City, including The Creation of Adam, The Separation of Light from Darkness, God Separating Land from Sea and God Creating the Sun, Moon and Vegetation. Designed to celebrate the splendour of the Sistine Chapel and inspired by Michelangelo’s work as a sculptor, the experience reveals details and stories often difficult to appreciate from the floor of the chapel, bringing them onto the walls at scale and animating figures in 3D, encouraging visitors to linger and engage with the Renaissance masterpieces in an entirely new way. In this emotive interpretation, the frescoes have been transformed through FRAMELESS’ signature animation, sound design and cinematic visual effects accompanied by a powerful original score. Alongside Michaelangelo’s most recognisable iconography, visitors will encounter other Renaissance frescoes created by other world-renowned artists of the Italian Renaissance, brought to life as animated figures, as well as an animated Michelangelo, shown gazing up at his masterpiece surrounded by the ingenious scaffolding he designed to create it. The experience culminates with an original immersive interpretation inspired by the Sistine Chapel as a whole, complete with votive candles and shafts of light pouring through its towering windows. This exciting new addition joins an array of world-famous masterpieces within FRAMELESS’ Galleries, offering visitors the opportunity to discover world-renowned artworks by artists including Monet, Van Gogh, Dalí, Canaletto and Rembrandt in one day. Brought to life across FRAMELESS’ four impressive Galleries, visitors can step inside these famous artworks (some of which cannot be seen in person anywhere in the world), experiencing them in a breathtaking new way where they can see and feel more from the art than ever before - without even having to leave the city. Photo: FRAMELESS Art historian and author Ruth Millington said: FRAMELESS’ interpretation [of Michaelangelo’s frescos] offers audiences an accessible and truly wonderful new way to interact with works they may not have seen before. My hope is that by engaging with art through this interpretive and immersive medium, audiences will develop a newfound sense of wonder and excitement for these awe-inspiring masterpieces and can continue their journey in experiencing art long after visiting. Creative Director of FRAMELESS, Ryan ‘Woody’ Atwood said: Celebrated as one of the most impressive feats of art and design in history, the Sistine Chapel made for an exciting opportunity to interpret Michelangelo’s work as a new immersive journey through scale and storytelling. We brought together an incredible multidisciplinary creative team of curators, animators, visual artists, sound designers and composers to realise this spectacular addition to our Collection, which only adds to our ambition of inspiring a greater appreciation and understanding of these masterpieces. Having welcomed over 1 million visitors through our doors since opening, we cannot wait for new and returning visitors to experience this new artwork. The ideal cultural activity for all ages, FRAMELESS aims to make its artworks both interactive and accessible, providing a gateway into the world of art for those yet to venture and a new way for art enthusiasts to experience some of the world’s greatest works. Perfect for all ages, children aged 0-2 visit free and those looking for a slice of culture after-dark or a date night with a difference, can visit FRAMELESS Lates every Friday and Saturday and can enjoy a selection of cocktails from the art-inspired Café Bar. Photo: David Parry / FRAMELESS NPG x131006 Amy Winehouse by Mischa Richter, 24 July 2006 © Mischa Richter Alongside FRAMELESS’ four permanent Galleries, visitors can also experience Stories – Brought to Life, a limited-time residency in the Blank Canvas Gallery, created in partnership with the National Portrait Gallery. Featuring Queen Elizabeth II, Nelson Mandela, William Shakespeare, Amy Winehouse and Malala Yousafzai, visitors will be transported into an intimate world where the sitters’ stories vividly come alive - running until 13th August for daytime entry and 12th September for FRAMELESS Lates. Through the Government’s Summer Savings scheme, which will see a reduction in VAT from 20% to 5% on entry to exhibitions and visitor attractions, audiences can enjoy a reduced rate on tickets to FRAMELESS from 25th June to 1st September 2026, starting from £25.81 for adults and £17.50 for children.

This new immersive experience, which is based on the hugely popular series, will combine a themed pub and iconic settings with actor-led encounters and interactive gameplay. Photo: Peaky Blinders Peaky Blinders: Underworld is a major new live experience coming to London Bridge this August. Transporting guests into the shadowy underworld of Thomas Shelby and the infamous Peaky Blinders gang, this brand-new experience gives fans the opportunity to step inside the world of Peaky Blinders through interactive gameplay, live entertainment and actor-led encounters. Guests will begin in the iconic Garrison Tavern, a faithfully recreated post-WWI pub, open to all and free to enter. Here visitors can step off the streets of modern London and soak up the atmosphere of the Shelby family’s notorious watering hole, enjoy live music whilst sampling the drinks, including draught beer, wine and spirits, as well as a selection of light bites. Image: Peaky Blinders Underworld Lurking behind The Garrison Tavern, an illicit Peaky Blinders Underworld unfolds. The ticketed Underworld attraction blends interactive gameplay with actor-led encounters, bringing to life the notorious world of the Shelby family. The experience invites guests to discover if they have what it takes to join the syndicate and become a Peaky Blinder. Within this speakeasy world, ticket holders can freely explore themed environments such as Garrison Lane, The Bookies, Chinatown and The Small Heath Fairground, each offering their own distinctive atmosphere, gameplay and hands-on challenges. Actor-driven encounters draw guests further into a world of shifting alliances and hidden agendas, opening up new possibilities designed to prove their nerve, instinct and loyalty. Image: Peaky Blinders Underworld Peaky Blinders is the award-winning British epic crime TV series created by Steven Knight (House of Guinness, SAS Rogue Heroes, Taboo). Two new six-episode seasons of the show, produced by Kudos and Garrison Drama for the BBC in the UK and Netflix globally, are expected to be released in 2027 and 2028. Speaking on the announcement of Peaky Blinders: Underworld, Steven Knight said: Peaky Blinders Underworld is not just a recreation of the Shelby family’s world, but a much wider destination. This venue gives fans the opportunity to socially engage with their beloved series through a completely new prism, while those less familiar with the show will find plenty to love about it too. Image: Peaky Blinders Underworld Beyond the main experience, The Garrison Tavern will also include a dedicated events space, hosting a programme of special late-night performances, live music and themed events that will bring the world of the Shelby’s to life after dark. Guests will also be able to take a piece of the Underworld with them through exclusive official merchandise, designed to recreate the distinctive fashion and style of the series, allowing them to keep their identity as Peaky Blinders long after they leave. Peaky Blinders: Underworld will open near London Bridge on 13th August 2026. Tickets are priced from £19.95 per person. For more information and to book tickets, visit peakyblinders.london

Do you have what it takes to handle the demands of stardom, and walk away with a full refund for your ticket this Fringe? Join For the Fun, in their interactive gameshow-play (No) Refunds, hosted by the dazzling, delightful, and only occasionally maniacal Tiffany Gold, an old-school American gameshow host and model presenter all-in-one -who quite literally depends on your entertainment. Following success at last year’s Edinburgh Festival Fringe, and fresh from a run in New York, (No) Refunds is returning to Fringe for a second year. Every evening, the show offers one lucky audience member the chance to become the ‘star player,’ and to compete in three games designed to amuse the audience and showcase their talents - only those best-suited to handle the demands of being the star of the show will walk away with a full refund! (No) Refunds is a play about the real-world costs of being a working artist in our contemporary world, disguised as the most fun you’ve ever had at the theatre. (No) Refunds runs at The Penny at Gilded Balloon Patter House (Venue 24) from 5th to 31st August at 21:40. For more information and to book tickets, visit edfringe.com

Following international acclaim, Richie Schiraldi’s The Mothman Cometh will return to Edinburgh Fringe for a second year this August. Lit only by Mothman’s glowing red eyes, the show is a dark, immersive, experimental, character-comedy about a strange and cryptic creature that is recruiting Minions of Darkness. Mothman will guide the audience through a variety of games, rituals, and happenings to navigate the void, embrace the unknown, and find power in community. Mothman uses the power of literal and metaphorical darkness to playfully approach vulnerable topics with the audience such as fear, anger, and loneliness. Writer and creator, Richie Schiraldi states: There’s something about being in the dark together, led by this spooky, odd, and endearing creature that allows us to enter an open, playful state where we can more easily approach some of the more vulnerable themes of life. It’s an evening of dark, spooky fun ending in a heartfelt ritual to reclaim the darkness. Come, join us in the darkness. We only get through this together. The show has achieved a range of award wins and acclaim, including winner of Best Comedy at the Edinburgh Spooky Awards and winner of Audience Choice at Green Bay Fringe. Richie Schiraldi is a circus and devised physical theatre performer based in Chicago, and the Co-Artistic Director of Whisper Theatre. He specialises in physical comedy, Cyr wheel, partner acrobatics, character work, and movement, and focuses on blending circus, movement, and character work to create interactive pieces that playfully embrace the darker things in life. Richie is inspired by his own vivid, lucid dreams, as well as a fascination with cryptic creatures, old surrealist films, and 60s/70s performance art. This has led him to create strange and absurd pieces aimed to share similar experiences with audiences. He aspires to generate a sense of magical realism in his art, and hopes to use interactive character theatre to build community while making vulnerable things less scary. Whisper Theatre Collective is a Chicago-based company that specialises in experimental, original, and physical theatre. Created by five graduates of Arthaus (formerly LISPA) and Columbia College Chicago, Whisper has produced 8 original works that have been presented in Chicago, IL, around the US, the UK, and Europe. Their most recent works include The Mothman Cometh, Athena, and Well-Balanced Dads. Whisper’s mission is to produce works that challenge theatrical conventions, encourage connection between the artists and the audience, and engage with innovative, interdisciplinary techniques ingrained in physically devised storytelling. The Mothman Cometh runs at Just The Fancy Room at Just The Tonic at The Caves (Venue 88) from 6th to 30th August at 22:10. For more information and to book tickets, visit edfringe.com

Photo: Stephen Dobbie Punchdrunk Enrichment, leaders in the field of immersive theatre for young audiences internationally, have today announced the appointment of Randel Bryan as the charity’s new Chair. He will take up his new position from 15th July when the current Chair, Ben Connah, steps down. Randel Bryan has pioneered operational and commercial strategies for some of the world's leading studios and venues, including Universal Pictures, Endemol Shine, and Factory International, where he helped launch Aviva Studios, the world-class music and arts venue in the heart of Manchester. As Managing Director of SXSW (South by Southwest) London, he played a pivotal role in bringing the world’s leading creative and technology thought leadership event to the capital. He is currently Vice President of London Tech Week, one of the world's most influential technology festivals. Randel recently completed his Master's in Sustainability Leadership at the University of Cambridge. He is a Trustee of BBC Children in Need and Chair of BBI (Black British Initiative), supporting young people in realising their ambitions through education and opportunity. Photo: Stephen Dobbie Punchdrunk Enrichment was founded in 2008 to take the innovative practice of multi- award-winning immersive theatre company Punchdrunk into communities and schools. Now operating as an independent charity, Punchdrunk Enrichment’s work has reached over 200,000 people. Projects include acclaimed family theatre productions Fireside Tales, Enitan’s Game, The Lost Lending Library - which reached 40,000 children as an installation project for whole schools and Against Captain’s Orders - created in partnership with the National Maritime Museum. Last week, a collaboration with the much-anticipated London Museum was announced. The museum is set to open its new home in historic Smithfield on 28 November 2026, and from January 2027, Punchdrunk Enrichment will bring a magical immersive experience for families to its new galleries. Punchdrunk Enrichment also have several new productions in development with plans to tour nationally and internationally, working with sector-leading cultural partners. The company will also have a renewed focus on their pioneering immersive learning experiences for SEND children in both mainstream and specialist settings in Brent, Punchdrunk Enrichment’s home borough. On his appointment as Chair of Punchdrunk Enrichment, Randel Bryan said: Punchdrunk Enrichment does something truly remarkable — it puts young people at the centre of the story, quite literally. Through immersive theatre and storytelling, it reaches children who may not believe they have a voice and shows them they do. That unlocks something profound: curiosity, creativity, a sense of possibility. I've seen what happens when a young person discovers they can be the star of their own show — it changes everything. I can't wait to help support and grow the charity's ambitions, because every child's imagination, given the right stage, really can go on to change the world. Steve McCourt, Artistic Director of Punchdrunk Enrichment, said: We’re thrilled to welcome Randel Bryan to Punchdrunk Enrichment as Chair. Randel’s history of innovation, collaboration and community speaks to the heart of what we do. I'm looking forward to working closely with him and the board, as we embark on our next journey; one that will reinvent immersive theatre once more for audiences in our home in Brent, nationally and internationally. On behalf of everyone at Punchdrunk Enrichment, I’d also like to say an enormous thanks to our current Chair Ben Connah for the time, wisdom and support he has given. He has played a major role in helping to make a stronger and more ambitious future for the charity.

An interactive, immersive football game on massive screens opens at Outernet in Central London today. Goal Rush, sponsored by Skechers, takes over the immersive screens of Outernet, the UK’s most visited cultural attraction, next to Tottenham Court Road Station, between 25th June and 17th September 2026. Free to play, the game builds on the excitement of a summer sporting calendar dominated by the FIFA World Cup. It transforms the Now Building’s world-leading 8K LED screens into a live, competitive football arena, turning spectators into players. Using a custom app, visitors can point their phones at a QR code on Outernet’s screens and use them as motion-based controllers - shooting, tackling and competing in real time against other players on the immersive canvas, all powered by Outernet’s innovative technology. Nathan Reehal, Outernet Head of New Business & Partnerships, said: Football fever has hit London with some fantastic games already in the World Cup, but neither football fans nor gamers have seen anything like this before. Goal Rush gives players the chance to take on other visitors using Outernet’s peerless 360-degree technology. Richard Parker, Managing Director at Skechers UK & Ireland, said: At Skechers, we're always looking for exciting ways to connect with our communities, and Goal Rush is exactly that. Partnering with Outernet London to bring this free, immersive football experience to the heart of London is something we're incredibly proud of. Whether you're a die-hard football fan or just passing through, we want everyone to get involved and have fun this summer. Goal Rush arrives as the World Cup brings the biggest worldwide cultural event of the summer. Outernet is capturing the energy of football fans in the capital - turning fans and viewers into active participants, regardless of sporting ability. The production will be hosted in the Now Building on Charing Cross Road.

The new social deduction experience, designed for up to 30 players, is set to launch on WhatsApp across the UK and Ireland later this year. Image: CityDays CityDays have confirmed that The Traitors: Anywhere, an officially licensed social deduction game inspired by the global hit TV phenomenon The Traitors, will launch for players in the UK and Ireland later this year. The game brings the tension, strategy and psychological intrigue of The Traitors directly into players’ everyday lives, and is played entirely through WhatsApp, with no additional apps or downloads required. Built for groups of friends, families or colleagues, The Traitors: Anywhere transforms a private group chat into a high-stakes world of suspicion, scheming and surprise. Designed for up to 30 players, with larger groups able to split into parallel games, each experience unfolds over approximately one week of orchestrated action. Across the week, players navigate a compelling cycle of missions, Round Table discussions, banishments and covert Traitor activity. Cooperation and deception go hand in hand as participants complete challenges, form alliances and attempt to uncover hidden Traitors or successfully conceal their own identity. Private messages with the host add an additional layer of strategy, while the group chat becomes the central stage for accusations, persuasion and dramatic reveals. Tom Rymer, Founder of CityDays, said: Following the huge popularity of The Traitors, we are delighted to bring The Traitors: Anywhere to players across the UK and Ireland in 2026. Now it's your turn to play against the people you think you know, all unfolding over a week of unforgettable gameplay. The question is simple: can you trust the people you know best? Nick Smith, EVP Formats & Licensing at All3Media International, added: The Traitors is built on one irresistible question: who can you trust? The Traitors: Anywhere takes that question and puts it into the hands of players themselves, transforming everyday group chats into a world of suspicion and intrigue that will make you look at your friends, colleagues and family in a whole new light. Following our successful partnership with CityDays on Race Across The World: The Experience, we are delighted to now welcome them on board as our latest faithful partner for The Traitors to offer fans across the UK and Ireland the chance to live out their own Traitors game — no castle required. Perfect for social gatherings, family groups and competitive workplace teams, The Traitors: Anywhere allows larger organisations to take part across multiple games. The Traitors: Anywhere will launch in 2026. Participants must be aged 16 or over. For more information and to sign up for the waitlist, visit thetraitorsanywhere.com.

Photo: Broken Planet Show Broken Planet Show marks a return of apocalyptic proportions to the Edinburgh Fringe Festival this August at Just the Tonic at the Big Cave between 20th and 30th August at 16:30 daily. Comedy, circus and indie cosmic lunacy collide in an ever-changing nightly riot of world-class weirdos, hellbent on healing our planetary divide. This genre-bending cabaret is “a full hour of interactive chaos” (The List), uplifting and subverting audiences with its delightful pandemonium. This Fringe audience favourite features creator Callum Grant along with Clown Gods, Giant Babies, Fart Monkeys, the infamous Nerf Karaoke and outlandish acts from across the Fringe, accompanied by a live-looped indie score morphing every night. Broken Planet Show dares you to misbehave, laugh at your flaws and dance through the chaos. It's a rowdy invitation to take life less seriously in what Broadway Baby calls the 'Most Fringe show I've ever seen.' . Launched in 2023, Broken Planet Show kicked off as a living room performance by founder Callum Grant (Blue Man Group, Savannah Bananas). The message resonated with artists and collaborators alike and now continues to grow into a collective on a mission to save the world through comedy, music, performance art and more. The show has gone on to perform at theatres and festivals around the world, including Las Vegas (Fallout Fringe), New York (Brooklyn Comedy Collective), Chicago (The Newport Theatre), and more. Broken Planet Show is produced in part by Behave Yourself Productions LLC (Callum Grant) and Lottie & Dessie Productions (Jamie Hafner). Broken Planet Show runs at Just the Tonic at the Big Cave (Venue 88) from 20th to 30th August 2026 at 16:30. For more information and to book tickets, visit edfringe.com

Lush design and a tour de force performance combine for an intimate take on The Bacchae. Photo: James Lawson The Shop for Mortals and All Fools opens its doors once again to venturous audiences keen to explore its mystical antiquities. By now, word of Vinicius Salles’s take on The Bacchae has spread from its mesmerizing sold-out run at Stanley Arts to the ears of immersive fans across the country. This new installation at COLAB Tower offers an intimate opportunity to dive into the Dionysian fervor for those who may have missed out on the original iteration. Set in a mysterious shop seemingly trapped outside of space and time, audiences are greeted with an impressive array of curios and antiques. The shopkeeper, Agatha (Emma Kirrage), encourages us to explore a number of decorative boxes which likely hide a secret about the true nature of the shop. Each box comes with a cryptic and poetic description of its history and use. While this introduction is an engaging invitation into the world of the play, it unfortunately isn’t given enough time. Due to the constraints of the running time and the low lighting of the venue, audiences will only have time to explore a box or two before being whisked away to the back of the shop. It’s empowering for an audience to be given an active role within the world, and we are promised that role will be of use at a later period in the show, but our role (and our agency within the show) is quickly abandoned for a more linear theatrical experience. What we are given in return is a tour de force performance. Audiences are invited into Agatha’s personal quarters in the back of the shop, where a table and several sofas and chests of drawers are overgrown with unnatural foliage bursting from unexpected places. Agatha takes on the singular role of storyteller, recounting the strange twists of her fate as a member of a hedonistic cult, and we are swept up in the whirlwind of her frenzied, orgiastic memories. Photo: James Lawson With the boon of recent adaptations of The Bacchae (including Sleepwalk Immersive’s Bacchanalia and the National Theatre’s The Bacchae), audiences will likely already be familiar with Agatha’s story of lust and loss. This production takes a more focused look at Agave (updated here to Agatha for a more modern audience), the tragic victim of Dionysus’s power struggle to be recognized as a god. It’s clear from the outset that Agatha is an unreliable narrator, and her hazy memories of parties, battles, and orgies are often told through movement, poetic monologue, and artistic imagery rather than solid facts. This approach adds to the frenzied dreamlike daze of Agatha’s experience, fueling the story through emotion rather than logic. But if ever there was a performer to cinch such a complex emotional storyline together, it’s Emma Kirrage. Deftly flitting between fragile humility and wicked abandon, Kirrage gives an intoxicating performance that combines brutal and graceful physicality, deep emotional range, and expert storytelling. It’s an unforgettable performance from a world-class performer. The set design (Bronia Kupczyk with pieces from Elina Pasok and Anita Wadsworth) is equally enthralling. A multisensory experience, the space constantly confronts the familiar with the eerie. Trees grow from inside dresser drawers, vines twist to form a voluptuous female bust, fabric wraps around chairs like dismembered limbs – all combining to create an ethereal liminal space haunted by the events of the past. There is a clear Punchdrunk influence across the experience (which is unsurprising given director Vincisius Salles’s time working with the company), and this production has capitalized on some of the best aspects of Punchdrunk’s work. At its best moments, The Shop for Mortals and All Fools captures the pervasive doom and majestic scope of productions like Sleep No More. It comes through in the otherworldly choreography, the clever use of stagecraft in repurposing props to shift the audience’s frame of reference, and the use of scent to evoke emotional responses to space. However, the show inherits Punchdrunk’s attitude towards agency as well. Audiences are only directly addressed at key moments, wherein they are given tea to hold to increase a sensory experience or are spoken to directly as an aside of Agatha’s monologue. But for the majority of the experience, the audience is simply that – audience. While there is nothing wrong with passive observation (audiences have been sitting in seats at theatres for centuries without an active role in shows, and it’s worked just fine), it does limit the show’s ability to truly immerse the audience in the world of the show. If the world is not reacting to the audience’s presence and input in the immediate environment, then are they really there? Photo: James Lawson That’s not to say the show props itself up on Punchdrunk’s style – quite the opposite. The Shop for Mortals and All Fools has more than enough personality and innovation to set it apart from other reference points, and makes a statement in its own right about its unique approach to theatre. The captivating performance of its leading lady, the unique and intriguing element of an actual storefront (with trinkets available for purchase; all proceeds go to the show’s partner charity, Emmaus), and the impressive and effective simplicity of the stagecraft set the show apart. The production closes with a return to the storefront. Given what they now know about the gods and her own experience, Agatha asks audience members to select which box in the shop holds a secret to the truth behind the shop. One lucky audience member is selected, both through intuition and fate, to have a private one-on-one with Agatha, stealing away once more to the back room of the shop. The sudden return of agency is an effective transition back to the real world waiting outside the shop’s doors, but the mechanic of challenging audiences’ understanding of the content at the beginning of the show seems disconnected from the central theme of the overall experience. Still, the promise of an intimate and personalized experience is a tempting one, and any excuse to experience more of Kirrage’s spellbinding performance is a welcome one. The Shop for Mortals and All Fools is an intimate and at times powerful adaptation of Euripides’s masterpiece. While it may not be the most immersive offering, the outstanding performances and inventive set design make it an unforgettable experience nonetheless. Tickets are currently available through the beginning of July, meaning the store may close its doors again soon, but here’s hoping it will appear again soon for audiences to explore the curious trinkets and the stories behind them for themselves. ★★★★ [Tickets provided in exchange for an honest review] Words: Danny Romeo The Shop for Mortals and All Fools runs at COLAB Tower near London Bridge until 4th July 2026. Tickets are priced from £35.00 per person. For more information and to book tickets, visit viniciussalles.co.uk

Image: Club NVRLND Following last year’s sold-out Edinburgh Festival run, producers David Adkin, RJG Productions, and Midnight Theatricals in association with NewYorkRep have confirmed that Club NVRLND, the immersive nightclub phenomenon, will transfer to The Vaults, Waterloo, from Saturday 14th November 2026 until Saturday 31st January 2027. Conceived and directed by Steven Kunis (Hir, Straight White Men), with a book by Olivier Award-winning Jack Holden (Cruise, KENREX), Club NVRLND is a high-energy immersive musical, transforming The Vaults into Peter Pan’s underground nightclub, where audiences become part of the party, revelling in nostalgia, exhilaration and youthful abandon. Set to the biggest 2000s anthems by legends including Britney Spears, Rihanna, P!nk, Outkast, Coldplay and many more, audiences are invited to leave their worries at the door and lose themselves on the dancefloor! Video: Chew Boy Productions. Club NVRLND at Edinburgh Fringe 2025 Welcome to NVRLND, where the party goes straight on till morning. ​When runaway bride Wendy Darling stumbles back into Peter's world, she's forced to question everything she thought she wanted. Offered the chance to rewrite her story, Wendy's thrown back into a world of intoxicating fun and reckless adventure. Club NVRLND premiered at the 2025 Edinburgh Fringe Festival, where it sold out every performance. This nightclub musical event is an irreverent, high-energy, immersive party where fairy dust is in the air, the drinks flow, and the night is always young. The production has choreography by Ashley Nottingham, executive music production and arrangements by Hugo Dunn-Vereker, set and costume design by Suzu Sakai, lighting design by Oliver Award-nominee Robbie Butler, sound design by Sound Quiet Time, casting direction by Lucy Casson, music production and arrangements by Liam James, Kieran Smith & Gregor Philp; post-production & mastering by Robin Sutherland and vocal arrangements by Simon Nathan, music supervision by Colm O'Regan with Aida Rocci as creative producer. Club NVRLND is produced by David Adkin, RJG Productions, and Midnight Theatricals in association with NewYorkRep and is presented by arrangement with Great Ormond Street Hospital Children's Charity and Concord Theatricals Ltd. Club NVRLND will run at The Vaults near Waterloo from 14th November 2027 to 31st January 2027. For more information and to book tickets, visit clubnvrlnd.com