. ★★★★ [Tickets gifted in exchange for an honest review] Alibi: Dead Air runs at Theatre Deli near Aldgate For more information and to book tickets, visit alibi.london For more reviews of immersive experiences like Alibi: Dead Air, check out our recent Reviews.

. ★★★½ [Tickets gifted in exchange for an honest review] Immersive 1984: A Unique Theatre Experience

Is everyone having a nice time? Photo: The Garrett Theatre In the opening moments of exit strategy's wonderfully stressful How to Win a Gameshow, the full legal name of an audience member is read aloud by the show's host (Marykate Glenn), and they're invited to the stage. How their name was found and why they were chosen is unknown. They're the first of many audience members selected to take part in a popular game show, which has featured Graham (Rupert Krüger) as its star contestant for either 4 or 327 days. Across 55 minutes, Graham competes in a series of off-kilter games both alongside and against members of the show's audience in an attempt to leave the game. At least, he would leave if he hadn't already been conditioned to do exactly as he was told at all times, responding to clicks of a dog training device. How to Win A Gameshow looks to interrogate our relationship with surveillance, our complicity with the systems that track us, and our willingness to surrender what little privacy we have left. The audience is repeatedly placed in situations where they're never quite sure what information they're giving away or what might happen to it, creating an experience that's built around uncertainty, paranoia and the understanding that the audience aren't allowed to remain passive observers. Photo: The Garrett Theatre That uncertainty is established early on, when an early victory is secured by Graham and the audience member. After the game finishes, both stand with their hands interlocked and arms in the air, celebrating their victory as a camera operator (Jane Skapek) films the pair and takes close-up photos of the audience member's face. We don't know what will happen with those photos, but as a reward, they're given a piece of candy and sent back to their seat. The process repeats several times, with everyone happily having their likeness captured from up close, clueless as to what those photos could be used for. As the show progresses, audience members also find themselves revealing personal information about themselves with little hesitation, handing over everything from their postcode and several digits of their mobile number to their mother's maiden name (a common internet banking question) simply because they were asked for it. In much the same way Graham has been conditioned to do as told, the audience undergoes the same process, one step at a time. After a while, it becomes hard to tell if at any given moment, we're all being collectively tested, watched or manipulated, yet continue to play along anyway, doing exactly as we're asked. Overall, exit strategy's How to Win a Gameshow is an impressively crafted piece of immersive theatre that makes surveillance feel immediate and personal. Rather than telling the audience that they're being observed, it makes them ponder who could be watching on, what those in control have to gain from it, and how much of ourselves we've willingly handed over along the way. ★★★★ exit strategy's How to Win a Gameshow runs at Lower Theatre at theSpace @ Niddry St (Venue 9) until 15th August, and Venue 45 at theSpace @ Venue 45 between 17th and 22nd August 2026. For more information and to book tickets, visit edfringe.com See all of our Edinburgh Fringe coverage here.

Soleil Kohl's interactive choose-your-own-adventure tasks the audience with keeping its titular character alive as they venture home from a week-long bender at a festival. Photo: Sarah Shtern As anyone who's ever experienced the drive back from Glastonbury on a Monday lunchtime can tell you, the worst part of going to a festival is the journey home. For Daisy, the protagonist of Soleil Kohl's interactive choose-your-own-adventure Don't Kill Daisy, this fact is taken to an extreme, as they find themselves in a time loop, doomed to repeat their trek home from Burning Man over and over again while being relentlessly pursued by a fedora-wearing Bad Guy. The experience begins with Kohl standing centre stage, wrapped in a bin bag and sporting wrap-around sunglasses. In these opening moments, they're the Game Keeper, who advises each audience member to select a couple of items from an eclectic collection of bric-a-brac. These items will serve as the weapons, tools and armour used by Daisy once her journey is underway, though at first glance, it seems that many will be more of a hindrance than a help. After a brief pause (think of it as a loading screen), Daisy emerges on stage ready to begin her voyage home. Except she dies within seconds from lockjaw, respawning moments later with the memory of her previous demise. Over the next hour, little by little, Daisy begins to level up as the random items selected by the audience come into play. The audience's goal is simple: keep Daisy alive. Photo: Mikey Prine Throughout, the show wears its retro video game influences on its sleeve, with every level-up and death soundtracked by an 8-bit-style sound effect. On top of this, audiences have the option to return to the 'main menu' at any point, where they're able to customise their character (aka force Kohl to change outfits mid-show), watch the opening titles or ask the Game Keeper for hints. While every performance of Don't Kill Daisy plays out differently thanks to the ever-changing line-up of items chosen by the audience, the one constant throughout every performance is Kohl's commitment to creating the most outlandishly ridiculous experience possible. On more than one occasion on the night we attended, Kohl broke out into fits of laughter at the absurdity of the situation she'd just created for the show's protagonist, which we can only assume is a regular occurrence given the rapid-fire improvisation required to make the show work. Anyone who's seen Police Cops will know that these fleeting moments of unexpected laughter from those on stage are a joy to watch, and only ender us to Kohl's on-stage persona further. More so than perhaps any other show at the Fringe, Don't Kill Daisy puts the audience in total control of how things unfold, and their decisions have a meaningful impact on what happens, consequences be damned. Riotously funny, hugely interactive and full of heart, it's a wild ride from start to finish and a perfect late-evening choice for those in search of a final show before calling it a night. ★★★★ Don't Kill Daisy runs at Studio at theSpace @ Niddry St (Venue 9) from 7th to 15th August, and theSpace @ Surgeons' Hall - Haldane Theatre (Venue 53) from 17th to 22nd August 2026. For more information and to book tickets, visit edfringe.com See all of our Edinburgh Fringe coverage here.

Renowned painter Van Gogh stumbles into an immersive experience of his artwork in this interactive clown show from Donna Oblongata. Photo: Josh Yoder As a website that covers immersive work, we've attended more than our fair share of London's projection-based experiences in recent years. Whether they've depicted the reign of Cleopatra or Tutankhamun, the sinking of the Titanic or the destruction of Pompeii, the current wave of immersive exhibitions can largely be traced back to the numerous immersive Van Gogh experiences that sprang up around the globe in the mid 2010's and opened the door for this kind of experience to become mainstream. Regardless of whether you see them as a positive or negative for the wider immersive industry (there are arguments on both sides), their huge success has undoubtedly led to at least one good thing: inspiring Donna Oblongata to create the wonderfully chaotic interactive clown show, The Van Gogh Shogh, which runs at Assembly @ St Andrew Square until 30th August as part of Edinburgh Fringe. Photo: Josh Yoder The show's tranquil pre-show experience, complete with classical music playing over the speakers and one of Van Gogh's pieces being projected onto the back wall of the venue, is quickly interrupted by the arrival of a dishevelled, blood-and-paint-soaked gig-working Van Gogh, who pulls a bag of food from an Uber Eats delivery bag and searches the space for their customer. While looking around the space, Van Gogh notices their work is being projected onto the wall, and their face lights up, realising that at long last, they're going to get the recognition they deserve. Of course, that smile slips away as they realise that despite now being famous around the world, and having a room full of paying audience members there to see their work, they're not getting a penny from it and are still as broke as they ever were. What Van Gogh lacks in funds, though, is made up for with enthusiasm, as they happily take the audience through a whistle-stop tour of their work. There's a wonderfully deranged monologue about the emotional state of each potato in 'Still Life with Potatoes', a communal exercise in letter-writing, as Van Gogh crowdsources suggestions to send to their wealthy art-dealing brother begging for paint, and a rousing karaoke rendition of Meat Loaf's I’d Do Anything for Love (But I Won’t Do That).. Photo: Josh Yoder The show's centrepiece, in which four audience members are invited on-stage to paint their own version of Starry Night under Van Gogh's tutelage, sees the master painter guide participants through the process of creating such an iconic piece of work and allows Van Gogh the opportunity to wax lyrical about the personalities of each colour (yellow obviously has a pet dog, blue's lucky number is three, etc.) while those on-stage frantically paint their magnum opuses. Throughout the show, Oblongata proves to be a commanding presence, bouncing between antagonistic remarks, off-handed commentary on their lot in life and depressing references to Van Gogh's real-life indiscretions with self-deprecating humour. Underlying the whole experience is a central message exploring the ever-increasing commercialisation of art, the financial struggles of being an artist, and how those who create work are often undervalued by society at large. By the show's conclusion, audience members not only come away with a deeper understanding of just how hard it is to make a living in the arts, but, if they're lucky, a new piece of art to hang on their wall too. ★★★★ The Van Gogh Shogh runs until 30th August (excluding 12th, 19th, 26th) at Front Room at Assembly @ St Andrew Square (Venue 172) as part of the Edinburgh Fringe. For more information and to book tickets, visit edfringe.com See all of our Edinburgh Fringe coverage here.

This shift in the conventions long-established pecking order makes way for the show's final act, which

and All Fools is a profoundly affecting piece from Director Vinicius Salles Photo: James Lawson This review village, shopkeeper Agatha (Agave, played by Kate Webster) has invited a small audience of 10 people to preview She speaks of her sister falling pregnant and giving birth to a child that the villagers believed to so more people can hear Agatha's story first-hand. ★★★★½ [Tickets gifted in exchange for an honest review

We recently appeared on the No Proscenium podcast to discuss the current state of immersive theatre in London and look back at the big moments of 2024. The episode was hosted by No Proscenium's Noah Nelson, and also featured Katy Naylor (Voidspace), Franco Milazzo (BroadwayWorld UK), and Shelley Snyder (No Proscenium). Listen here:

Photo: Peaky Blinders Peaky Blinders: Underworld is a major new live experience coming to London Bridge Image: Peaky Blinders Underworld Lurking behind The Garrison Tavern, an illicit Peaky Blinders Underworld Image: Peaky Blinders Underworld Peaky Blinders is the award-winning British epic crime TV series created Speaking on the announcement of Peaky Blinders: Underworld, Steven Knight said: Peaky Blinders Underworld Peaky Blinders: Underworld will open near London Bridge on 13th August 2026.

Photos: Yippee Theatre Dead Hard: A Drag Die Hard Parody Panto will run at COLAB Tower from 10th December

the titular role in the hit BBC series STRIKE opposite Holliday Grainger, the BBC mini-series WAR AND PEACE

The Burnt City), Ruth Howard (Sleep No More, The Greatest Night of the Jazz Age), Christian Loveless (Phantom Peak, Tomb Raider The Live Experience), Fionn Cox-Davies (The Drowned Man, The Burnt City), Peter Broughton (The West, Phantom Peak) and Fania Grigoriou (The Burnt City, The Drowned Man).