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Photo: Helen Murray The cast has been announced for the highly-anticipated immersive production STOREHOUSE, in which audiences will step into a 9,000-square metre underworld where humanity’s stories have been archived since the dawn of the internet. STOREHOUSE is the debut production from Sage & Jester, whose collective experience spans the likes of Secret Cinema, Punchdrunk, BBC Studios, and Warner Music. The show promises to be one of the most artistically ambitious, large-scale immersive theatre events ever to be staged in the UK, delivering a cutting-edge and thought-provoking journey. Leaving us questioning our role in today’s information ecosystem, a multi-award-winning cast of voiceover actors will guide us through the STOREHOUSE narrative as the four founding members. They will be joined by a cast of real-life performers in Deptford. The voiceover actors involved in STOREHOUSE include the multi-award-winning Toby Jones (Mr Burton, Tetris, Indiana Jones and the Dial of Destiny, Mr Bates vs The Post Office) and celebrated Meera Syal CBE FRSL (Paddington 2; The Kumars at No. 42; Yesterday; The Devil's Hour), joined by the formidable Kathryn Hunter (Black Doves; Poor Things; Harry Potter; Drive Your Plow Over the Bones of the Dead) and rising star Billy Howle (Dear Octopus; The Perfect Couple; On Chesil Beach; The Serpent). They will bring to life a group of radical visionaries, who believed that by storing and analysing all human knowledge, they could ignite the dawn of a new digital consciousness. As their surroundings crumble and secrets unfold, the true cost of controlling the narrative will become clear as audiences are urged to examine their vulnerability in the face of power. Image: Sage & Jester Leading the physical company in Deptford will be Nina Smith (Britannia, Sky; Doctors, BBC), Dawn Butler (Doctors, BBC), Bonnie Adair (Here We Go, BBC; Innocent, ITV) and Zachary Pang (Disney Channel Asia; Julie: The Musical, The Other Palace). They will be joined by Nat Kennedy (Dorian, Reading Rep Theatre), Elizabeth Hollingshead (The Last Disturbance of Madeline Hynde, Maximum Effort), Chris Agha (The Marriage of Figaro, Royal Opera House) and Harriett O’Grady (Peaky Blinders: The Rise, Immersive Everywhere). As well as Rob Leetham (Little Red Riding Hood – A Trial, Alnwick Playhouse), Scott Karim (The Great, Hulu; Dracula, BBC), Grace Hussey-Burd (I’m Angry But Look At This Dog, Unbound Theatre) and Darrel Bailey (Shadow & Bone, Netflix; EastEnders, BBC). Composer Anna Meredith will provide the musical finale for the production, as audiences are thrust into a battle between the defenders of Truth and the keepers of Order. Immersed in an underworld of knowledge, audiences will explore a vast, ever-shifting digital archive stored by an underground collective—where every news story, message, and meme ever shared has been meticulously preserved in a quest for higher collective wisdom. As the final founder fades and narratives collide, audiences will become part of the story, navigating this epic digital labyrinth, making choices, and determining the future of this precarious world. Fusing art, technology, and cutting-edge storytelling, STOREHOUSE is set to be one of the UK's most artistically daring and large-scale immersive theatre experiences, challenging how we perceive truth, trust and the narratives that shape our world. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Sage & Jester has announced a programme of events to run in conjunction with their upcoming immersive show, STOREHOUSE. Designed to spark critical conversations around misinformation, identity and digital truth, the season will feature partnerships with SXSW and Intelligence Squared, as well as collaborations with renowned artists and creators, including Stephen Fry. Photo: David Levene VOCALIZE (22nd May – 1st June) is a provocative new interactive installation that will premiere at Hay Festival, inviting audiences to confront one of the most urgent questions of our time: what happens when your voice is no longer your own? Visitors will step into a soundproof booth and enter the fictional world of the Vocalize Talent Agency, where they take part in an interactive voiceover training session led by Sir Stephen Fry’s AI clone. Guided by his vocal double, participants will record their own professional voice reel - until the experience takes an unexpected turn.  Sir Stephen Fry comments: VOCALIZE is a brilliant fusion of art and entertainment, revealing both the wonders and pitfalls of AI. As this technology shapes our future, it urges us to pause, reflect, and question: where are we heading, and who gets to decide? Produced by Indigo Storm and conceived by award-winning artists Francesca Panetta, Shehani Fernando, and Halsey Burgund, VOCALIZE invites audiences to engage directly with AI-driven voice cloning. Through its interactive format, the installation aims to spark critical thinking about how AI could impact everything from entertainment to misinformation. The creators of VOCALIZE comment: We wanted audiences to feel what manipulation truly means. When the viewer becomes the protagonist, the boundary between truth and fabrication starts to dissolve - and that shift becomes deeply personal. As artists, we're drawn to exploring AI not only to unlock its creative potential but also to confront the risks and ethical dilemmas it presents. Image: Sage & Jester Across 15th - 25th May 2025, Sage & Jester will unveil a prelude to their upcoming show with an immersive pop-up experience across London. Offering a roaming portal into the unexpected, the Storehouse Truck will share the first glimpses of the production, which debuts this June. Prepare for intrigue, illusion, and a world where reality bends at the edges, as the truck journeys through London’s most vibrant corners, including South Bank and Camden Market.  The Storehouse Truck will then find its home at SXSW London in Shoreditch for a week-long residency. Sage & Jester was proud to be announced last week as an official brand partner at SXSW's inaugural European event, and a curated panel is due to be announced soon.  Photo: Laura Lewis Founder of Sage & Jester, Liana Patarkatsishvili, comments: We're thrilled to partner with London's inaugural SXSW, a hub of creativity and innovation. As an impact-led arts organisation, Sage & Jester aims to uncover manipulation and misinformation. We're not just storytellers; we’re catalysts for a more informed society. Our values align perfectly with SXSW, and we're excited to reveal more about our debut production, STOREHOUSE, and upcoming events. On Wednesday 30th April, a fast-paced new virtual game show, CUT THE BS , will be hosted by Capital FM presenter and online creator Niall Gray. In this lively TikTok series, special guests will be challenged to see if they can spot lies, fakes or perhaps they are switched on to the world of misinformation. As online audiences call out media manipulation in real time, Sage & Jester aims to empower and educate viewers through the series. Image: Sage & Jester Finally, as part of the wider programme, Critical Conversations , a trio of live talks in partnership with Intelligence Squared will dig deeper into today’s most pressing misinformation themes at The Pleasance Theatre in Holloway. On 13th May, Tricks, Trolls, and LOLs: Comedy’s Crash Course in Spotting Lies sees BAFTA-nominated comedian Rachel Parris ( Late Night Mash ) unpack how humour can dismantle falsehoods and expose the absurdity of disinformation. On 19th May, Truth Hurts: From Conflict to Connection with author and extremism expert Dr Julia Ebner, will explore how polarised media is fuelling everyday division—and how to engage more constructively. Finally, on 20th May, Sage & Jester teams up with Intelligence Squared for How To Cure Your Algorithm, with Jamie Bartlett ( The People Vs Tech ) leading a vital discussion on digital manipulation and how to reclaim control of your online narrative. Founded in 2024, Sage & Jester is an arts production company on a mission: to entertain and empower through bold, immersive, socially urgent work. From theatre to festivals, live talks to TikTok, Sage & Jester creates experiences that strive to get people thinking. Their debut production, STOREHOUSE, opens this June in a 9,000-square-metre underworld in Deptford, London. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Image: Sage & Jester Ahead of Sage & Jester's STOREHOUSE opening in Deptford next month, we spoke with two of the show's co-writers, Katie Lyons (writer for Peaky Blinders: The Rise and The Paddington Bear Experience ) and Rhik Samadder (columnist for The Guardian and author of 2019's I Never Said I Loved You) to discuss why a show focusing on misinformation is so vital in today's world, how the pair became involved in the project, and what audiences will take away from STOREHOUSE. IR: Hi Katie and Rhik! Thanks for speaking with us today. We'd love to start by finding out how you both became involved in the creation of STOREHOUSE, and what about the show’s concept, which focuses on misinformation, spoke to you when you first heard it? Katie Lyons:  I was initially brought on as a Narrative Consultant to support the early iterations of the production. That role soon evolved, and I became a co-writer, working alongside a team of theatre and experience-makers to develop what would become STOREHOUSE. The scale of the ambition - and the urgency of the ideas we’re exploring - feels both daunting and exhilarating. As a parent of two children, I often find myself questioning, worrying, even feeling overwhelmed by what the digital landscape will look like in the years ahead and how it will shape their understanding of the world. That deeply personal concern—the human connection to these big, abstract ideas - is what drew me in and kept me invested as a writer. Rhik Samadder:  I was approached by one of the producers I’ve known for 20 years. Misinformation is such a daily part of our lives now. It’s one of the disturbing online phenomena that have become atmospheric, to the point they’re surprisingly hard to look at or examine, but they shape our real world and our future. Photo: Helen Murray IR: Liana Patarkatsishvili, the founder of Sage & Jester, has had first-hand experience of seeing how those with power can try to control the truth . Were there other real-life examples of misinformation that inspired the writing of the show? Rhik:  I can’t speak for Liana, as she’s so brilliant at speaking for herself, and her story is so personal and powerful. But she was always bringing our attention to totalitarian-leaning regimes across the world, which all use the same playbook. Controlling information and collapsing truth has always been every dictator’s 101. Now tech billionaires do the same, in invisible ways that most people are unknowingly complicit in, for their own unknown objectives. Well, not that unknown - it always comes down to money and power. Katie:  I live in Washington DC and the US elections coincided with the timing of the writers room for STOREHOUSE . The campaign ads, the debates, the news platforms, and the misuse of statistics were all solid examples of mis/disinformation in action on a daily basis. The writers gathered lots of articles and other real-world digital references to develop the story and characters of STOREHOUSE. Through our research and roundtable discussions, the deeper impacts of this information landscape became clear - heightened division within communities, the rise of far-right rhetoric, the othering of marginalised groups, and the pervasive spread of confusion and falsehoods across media platforms. Photo: Helen Murray IR: STOREHOUSE is going to be a massive show, both in subject matter and square footage at the Deptford venue. How do you go about making sure a story as large-scale as this connect with the audience on an individual level? Katie:  Throughout the development of this production, we’ve kept the audience experience front and centre of everything we do. With a work like this, so much of its meaning and impact only becomes clear once it’s shared with an audience, so we’ve intentionally built in multiple stages of audience testing. These moments allow us to learn, adapt, and better understand how people connect with the world of the show. As I’ve said before, it’s a conversation. We want to empower the audience to actively inhabit the space, not just observe it, to feel that their presence shapes the experience. Rhik:   It can’t be abstract. You have to stage real characters with a specific problem and high stakes. The audience will connect the dots to their own experience - you have to trust that people are smart. Katie also introduced us to her idea of HIIT - High Intensity Immersive Theatre. It’s a dynamic experience style. Basically, as soon as the audience gets used to one mode of interaction, you switch it up, so they’re always figuring something out. She’s a genius. Photo: Helen Murray IR: STOREHOUSE is opening in a couple of weeks' time. Can you tell us a bit about what audiences can expect from the show and what you hope they'll come away from the show thinking about or feeling? Rhik:  They can expect an epic experience that will hopefully take up a permanent place in their imaginations. Katie:  There’s nothing like this. It’s vast, bold and playful—an invitation to the audience to join the conversation, to observe the mechanics of misinformation and disinformation in a really exciting, jaw-dropping theatrical playground. Photo: Helen Murray IR: Finally, what do you hope audiences will come away from the show thinking about or feeling? Katie:  The goal is to create an audience experience that is both surprising and unforgettable - one that leaves them not with tidy conclusions, but with provocative questions about the tools of misinformation and disinformation shaping our daily lives. They may not walk away with all the answers - we certainly don’t have them - but I want them to leave with a heightened curiosity and a more open, reflective mindset about their own engagement with social media and news platforms and the content they encounter and share. Rhik:  Audiences will take away an understanding of how certain companies and bad agents will attempt to weaponise them. And I hope they feel an overwhelming awe at our interconnectedness. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Photo: Helen Murray Production images have been released for Sage & Jester's STOREHOUSE, which opens in Deptford on 4th June 2025. The show invites audiences to step into a world where humanity's stories have been carefully archived since 1983, at the dawn of the internet. As audiences navigate a rich and awe-inspiring underworld, they'll confront the powers that shape everyday narratives and question their own role and behaviours within society. The production, which is set across a space equivalent to two football fields, throws audiences into a battle between the defenders of Truth and the keepers of Order. As the STOREHOUSE crumbles and secrets unfold, the true cost of controlling the narrative will be revealed, urging audiences to examine their vulnerability in the face of power. Fusing art, technology, and cutting-edge storytelling, this immersive theatre show will make audiences question how they can protect themselves—and others—from being manipulated by powerful forces within this digital information ecosystem. Photo: Helen Murray Photo: Helen Murray Photo: Helen Murray Photo: Helen Murray Photo: Helen Murray STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Photo: Jurassic World The Experience Jurassic World: The Experience is set to open this May in Battersea, throwing open the iconic Jurassic World gates to a must-see family-friendly adventure that brings one of the biggest blockbuster franchises in cinema history to life for dinosaur fanatics, big and small. Created by NEON, a global leader in producing experiential entertainment, Jurassic World: The Experience is the inaugural experience at the brand-new NEON at Battersea Power Station visitor space located next to the London landmark.   Photo: Jurassic World The Experience   Jurassic World: The Experience, which returns to London due to phenomenal demand, will be the first of many live entertainment experiences to be staged at the new attraction. Visitors will walk amongst pre-historic giants and get up close and personal with countless different species across two floors of curated Jurassic World immersive environments within this new venue.   Fans of the franchise and audiences of all ages will be immersed in scenes inspired by the beloved films including walking beneath a towering Brachiosaurus, exploring the lab of genetic development, coming face to face with Velociraptor Blue, and even get a rare up-close look at the most vicious dinosaur of them all, the Tyrannosaurus rex. Guests will also be able to interact with baby dinosaurs, discover and engage with actual fossilised dinosaur bones.   Photo: Jurassic World The Experience The opening of Jurassic World: The Experience will coincide with the launch of the highly anticipated film Jurassic World: Rebirth, which opens this July. A 24-hour presale begins on Tuesday 29th April via  Fever , with tickets available on general sale from Wednesday 30th April.   Ron Tan, CEO and Executive Chairman of NEON says: Jurassic World: The Experience is the perfect extension of the popular film franchise, offering the fusion of entertainment, science, and cutting-edge technology, and allowing fans to step into the awe-inspiring Jurassic World like never before. The opening of Jurassic World: The Experience at the iconic Battersea Power Station will mark the first of many world-class IP experiences that NEON will be showcasing in London through our partnerships with leading global studios and partners around the world. Together, we are excited to bring this globally celebrated experience to the heart of London. Photo: Jurassic World The Experience Sam Cotton, Head of Asset Management at Battersea Power Station Development Company, said: We are delighted to be working closely with NEON to bring an exciting new cultural space to Battersea Power Station in the year that Wandsworth has been named the London Borough of Culture. Jurassic World is iconic, making it the perfect first experience to showcase next to this iconic London landmark. We are excited to see Londoners and visitors from further afield enjoy the experience and everything else that Battersea Power Station has to offer. In celebration of this brand new venue opening at Battersea Power Station, NEON will provide 5,000 complimentary tickets to local schools, allowing students to experience the exhibitions firsthand. Additionally, 1,000 free tickets will be offered to local charities, community organisations, and youth groups. Photos: Jurassic World The Experience Jurassic World: The Experience opens at NEON, next to Battersea Power Station, from 23rd May 2025. Tickets start at £22.90, with prices depending on time slot. For more information and to join the waitlist, visit jurassicworldexperience.com/uk

Photo: Netflix This Spring, fans of Netflix’s award-winning South Korean survival drama,  Squid Game , will be plunged into the heart of the drama in the brand-new ‘Squid Game: The Experience’ which will be opening its doors at Immerse LDN at the Excel London Waterfront.   Heading to the UK capital after successful runs in New York, Sydney, Seoul, and Madrid, ‘Squid Game: The Experience’ is presented by Netflix in collaboration with The Luna Entertainment Group and LETSGO.   Photo: Netflix   Perfect for fans of the series and thrill-seekers alike, teams compete for 60 minutes as they take on five challenges inspired by the television series’ nail-biting tasks including ‘Red Light, Green Light’ under the watchful eye of the haunting Young-hee doll, the nerve-wracking Glass Bridge and the intense Marbles game. Photo: Netflix   Once the game is over, players can gather in the Korean-inspired Night Market where they will be able to purchase exclusive ‘Squid Game: The Experience’ merchandise, buy a range of food and snacks and pose for a celebratory photo opportunity to remember the experience. Squid Game: The Experience will open at Immerse LDN this Spring. The waitlist for pre-sale access is open now, ahead of tickets going on general on-sale on 25 April 2025. For more info, and to sign-up for presale, visit squidgameexperienceuk.com

London's longest-running immersive experience invites visitors to witness the Martian invasion of the late 1800's, using a mix of live actors, detailed sets and virtual reality. Photo: Jeff Wayne's The War of The Worlds: The Immersive Experience Jeff Wayne's The War of the Worlds: The Immersive Experience is a pretty out-there concept for an immersive show. A reimagining of the 90-minute long prog-rock concept album from 1987 (which itself is a reimagining of H.G. Wells's original science-fiction novel from 1898), the album is best known for Richard Burton's iconic narration and the sweeping, epic scores that combine orchestral pieces with electronic music. Drawing inspiration from the original novel, Jeff Wayne's musical re-interpretation, the show incorporates VR and projection mapping, amalgamating 19th-century literature, 20th-century music, and 21st-century technology. Spanning across 24 interconnected spaces, and covering 22,000 square feet, the 110-minute-long experience recreates the story of George Herbert's perilous journey through Victorian London and Surrey during the Martian's invasion of South East England. Photo: Jeff Wayne's The War of The Worlds: The Immersive Experience From sneaking into houses through propped-open windows, escaping through secret passageways, ducking under wooden beams in war trenches, and sliding through the arms of a defeated Fighting Machine into the sewers, it's a surprisingly physical immersive experience that covers a lot of ground. At a rapid pace, groups of 12 encounter a string of actors, all of whom are ready to help them along their journey - from professors to artillerymen, maids to ferrymen. These fleeting moments with the show's live-action cast all put the focus squarely on those who lived through the invasion of the late 1800s, detailing the fear that swept through the capital and surrounding counties. During our visit, the cast were all excellent in their respective roles, leaving a lasting and memorable impression of the group regardless of how long they survived in our company. Photo: Jeff Wayne's The War of The Worlds: The Immersive Experience Fans of the original album will be pleased to hear that the experience does it justice. With Jeff Wayne's name front and centre on the poster, it's little surprise that he was heavily involved in the show's development, having reworked and remastered nine of the album's tracks for the experience and well as overseeing everything from the script to merchandise. On the whole, every track featured has been condensed to keep the show's pace fast moving. 'The Eve of War' has been wonderfully remixed for the show's opening title sequence, which uses 360° projection mapping to cover all four walls of a Victorian theatre with animations of Fighting Machines wreaking havoc on a woodland, and the climax of Side A - 'Forever Autumn' and 'Thunder Child' - have been combined to soundtrack guests daring escape from London down the Thames. One other notable change from the concept album comes by way of Richard Burton's original narration, which has either been confined to the VR portions of the experience or removed entirely to allow those narrative moments to be acted out by the cast in front of guests. Photo: Jeff Wayne's The War of The Worlds: The Immersive Experience The story's biggest moments, including the Fighting Machines descending upon Central London, the sinking of HMS Thunder Child, and the Martian's eventual defeat, are all reserved for virtual reality. The scale of these scenes is far beyond anything you could effectively convey with physical sets and offers guests the chance to witness these key moments from unique perspectives. While these sequences are no doubt the most thrilling moments in the experience, you can feel the limitations of the technology pushing back against the show's ambition. Considering these VR sequences were all originally developed in 2018/2019, they're beginning to show their age in terms of graphical fidelity, and the resolution of the show's VR sequences is nowhere near what modern-day consumer VR headsets can now offer. Photo: Jeff Wayne's The War of The Worlds: The Immersive Experience With an iconic soundtrack scoring the show, a huge number of scenes to experience, and some ambitious technology on display, Jeff Wayne's The War of the Worlds: The Immersive Experience and producers Layered Reality have carved out a unique corner in London's immersive scene in the five years since the show first opened. It's a hugely enjoyable experience, even for those unfamiliar with Jeff Wayne's original concept album, and will have you humming 'The Eve of War' not just on your journey home but for many days after. ★★★★ Photos: Jeff Wayne's The War of The Worlds: The Immersive Experience Jeff Wayne's The War of the Worlds: The Immersive Experience is currently booking until September 2025 at 56 Leadenhall Street near Aldgate. Ticket prices start at £43.00 and can be purchased via feverup.com

Twelve months on from opening, Phantom Peak - the platypus-loving mining town located in Canada Water, continues to be one of the most essential immersive experiences in London. Their latest season, Summer’s Peak, which sees all eyes shift towards the Big Dig - a large-scale excavation happening below the town to uncover the remains of an ancient society, continues to build on the foundations laid in the 12 months prior, and the ambition is now clear - this is a far deeper and more detailed experience than anything else out there today. Physically and narratively, Phantom Peak has been in a constant state of expansion. The footprint of the site has grown considerably with multiple new areas added since opening. The biggest change came when Old Town fully opened during the second season, which effectively doubled the size of the town. Since then we’ve seen the arrival of several seasonal areas, including a Wintermas market and Platy World, a platypus-themed exhibit that held some much deeper mysteries - both located on the site of what was a boat ride present during the opening few months. These regular updates to the site add a renewed sense of exploration for repeat visitors, as no two seasons are quite the same. The site is now roughly 30,000 square ft, easily rivalling the scale of most other immersive experiences on offer in London. Photo: Alistair Veryard The number of story trails offered to visitors has also had an equally large growth - with a total of around 65 storylines having been available across their five seasons so far (once a season ends, those storylines are retired). Through these trails, and within the wider world of Phantom Peak we’ve been asked to do everything from fight off ghosts and ghouls during Hallowed Peak, help Father Platmas escape imprisonment during Wintermas, and give at least one of the towns digital inhabitants sentience and a human body to possess during the Platypus Parade. With every trail involving some combination of puzzle solving, physical exploration and conversing with the townsfolk, the variety of stories that have been written is vast. They’ve touched on everything from corporate espionage, to inter-dimensional travel and masked vigilantes, and they’ve all been of a consistently high standard. Photo: Alistair Veryard The cast that has portrayed the dozens of townsfolk across this first year have largely been excellent - all of them able to improvise and respond to visitors remarks with ease, whether it’s the guests trying to dig into the lore of the world, extract or share a key piece of information, or simply forget what they were meant to ask in the first place. Our personal highlight for some time has been Dr. Winter, the evil scientist located in JonaLabs. Always perfectly balancing being slightly mean to visitors while also so fun to be around that you walk away smiling, even if you’ve just been called a disappointment. The echo’s on him shouting ‘Get out of my lab!’ - his farewell to every guest, is a joy to be on the receiving end of. With Phantom Peak being an ongoing storyline, if you’re a visitor who has invested time into repeat visits in the last twelve months your understanding of, and relationships with the townsfolk that live there will feel a lot more tangible than that of a first time visitor. What may have once been a throwaway comment by someone can hold deeper meaning as more of the story is revealed. Everything you learnt in previous visits is still relevant and only deepens your understanding of the characters and world around you. The residents of Phantom Peak are big personalities with desires and flaws and allegiances that only begin to reveal themselves gradually over time - just like in real-life relationships. The classic bit of advice you hear when talking about immersive shows is “you get out what you put in”, and this is certainly the case here. Despite this, you'd still be able to visit for the first time now and walk away feeling like you've had a complete experience - nearly all of the trails storylines are either referenced or concluded fully during the closing ceremony. Photo: Alistair Veryard If you’d had two visits a season since opening (which is typically enough time to finish all the trail on offer) you’d be running a total of around 50 hours in the world of Phantom Peak That’s about the same amount of time and story as you’d get from a AAA video game like Red Dead Redemption 2 or The Witcher 3, which is apt as more than any other immersive experience we can think of, Phantom Peak feels like the closest thing around to a real-life video game. From receiving trail prompts through your phone, to the collectable trail card rewards you receive upon finishing a storyline, Phantom Peak is able to create an experience as immersive and enthralling as a top-tier video game with no controllers in sight. A recent blooloop article shared news of Phantom Peak’s plans for an upcoming expansion into the US market, reportedly set to be a string of different unique towns akin to Phantom Peak, that would rotate every two years, offering us years more stories to dive into. In an immersive landscape where shows, regardless of their quality, can often only justify staying open for a handful of weeks, months, or sometimes years, even the possibility of a decade-long immersive universe for visitors to explore and get lost in is nothing short of miraculous. In years to come, we'll likely look back on Phantom Peak as not just the beginning of a massive ongoing story, but also the beginning of a new chapter in immersive storytelling. We've been singing the praises of this incredible experience for the last year, and will no doubt continue to do so until the story concludes. If you've not visited before, there's no time let the present to dive into this unique world and see what mysteries you can uncover. ★★★★★ Phantom Peak is located in Canada Water and the current season runs until the end of September. For more information visit phantompeak.com . Check out our other reviews from Phantom Peak here .

This interactive crime-solving experience delivers twists and turns, mountains of detailed evidence, and a complex narrative over the course of 90 minutes. Photo: Sam Bush Jury Games, created by Joe Ball, Tom Black, Ellie Russo and Edward Andrews, is an interactive crime-solving experience that invites audiences to take part in the remote trial of Harry Briggs, an investigative journalist accused of committing arson and murder. Originally conceived as an online experience during the 2020 lockdowns, in recent years the show has found a permanent home at Theatre Deli near Liverpool Street for in-person performances of up to 12 people per session, which can be booked as either private or public shows. In Jury Games' original experience, The Trial of Harry Briggs, the Justice Act of 2025 has recently been passed to try and help clear the backlog of cases caused by the pandemic. Temporary courtrooms, such as the one in Theatre Deli, have been set up across the country to cut through the red tape and allow the processing of cases without all the fuss of 'conventional' courtrooms. While these temporary courtrooms are described in the show's opening Ministry of Justice video as 'a streamlined and cost-effective process', they're also a good way of allowing jurors to have both their phones and drinks from the bar in the room throughout, without being held in contempt of court. Photo: Sam Bush For Harry, who was found at the scene acting erratically and covered in paraffin with a cut on his forehead, the odds are stacked against him in his trial. While he doesn't deny starting the fires that destroyed an office in New Malden, he claims to have had no idea that a cleaner, identified as Richard Holmes, was inside the building at the time. Now behind bars in HMP Wandsworth, he's awaiting the jury's verdict on whether to charge him with murder or manslaughter, and from first impressions, it could go either way. Throughout the 90-minute experience, jurors are presented with dozens of printed documents, numerous online blog posts, social media profiles, emails and bags of physical evidence. Staying on top of everything is no small task, with the group initially advised to split the workload amongst themselves and let the rest of the group know about any important findings. The courtroom's blank whiteboard wall is hastily filled with frantically scribbled information, potential connections are outlined, and a list of questions is drawn up for the accused, who will soon appear via video link for their first questioning from the jury. Photo: Sam Bush Harry Briggs (played wonderfully by Jack Flammiger) initially proves to be an unreliable witness. Speaking via video call on the room's TV monitor, they're cagey and evasive, unable to answer questions without contradicting either themselves or the evidence. It's clear that if the jury wants to make any headway in the case and discover the truth about the night in question, they need to get Harry onside in their follow-up calls. To do so, jurors must look beyond the evidence in the room and involve those outside the courtroom. Using their personal phones, jurors need to communicate via email and call with an anonymous outsider, who seems to know more than they're letting on, but in this first instance, only provides the information needed to help win Harry's trust. Photo: Sam Bush The breadth of evidence available for jurors to uncover throughout The Trial of Harry Briggs is pretty staggering. On top of the detailed printed documents and realistic physical evidence in the room with the jury, there's also a sizeable digital component to the experience, which can be accessed via the two laptops at the back of the room or through guests' phones via QR code.  If the group aren't actively searching for personal details or companies' information on the Metropolitan Police database, there's a backup of Harry's password-protected phone that needs cracking, concealed private servers only accessible via IP addresses, and a string of emails and voicemails being left for jurors throughout the experience to keep them occupied. Throughout Jury Games, information believed to be true is cross-checked, theories are quickly disproven, and bombshell discoveries mean the jury's collective idea of what is true and what is false changes with every passing minute. For teams to succeed and get to the bottom of this complex, interconnected story before giving their final verdict at the end of the experience, teamwork and strong communication are key, and jurors need to be okay with others having differing opinions.  A lot of a group's success may rest on who else they're paired up with during a public session, and there is a danger of the loudest voices drowning out those less willing to make their opinions known, much like in a real-life jury. The in-person Ministry of Justice co-ordinator, who oversees the jury in the courtroom, does an admirable job of getting everyone involved in the case and can offer gentle nudges in the right direction if jurors end up chasing their tails for too long. Photo: Sam Bush While the story that unfolds across Jury Games’ 90 minute run-time doesn’t comment on the built-in problems often inherent in real-life juries, such as biases, emotional decision making and legal speak going over jurors heads, it does give participants a chance to step into the shoes of the hundreds of people called up for real jury duty across the county each day.  Despite the case being fictional, there’s a weight attached to each accusation and thought when it’s going to change the trajectory of someone’s life, and the final deliberations over if and what crime to charge Harry with are surprisingly tense, as everyone tries to justify their own opinions. Meticulously crafted, incredibly detailed, and with enough twists and turns to satisfy even the most die-hard true crime fan, Jury Games delivers an interactive experience that puts the audience in control every step of the way. It's a frantic and information-packed 90 minutes that will leave you keen to keep unpacking the details of the case long after a verdict is delivered. With Jury Games, we'd be more than happy to take our seats and fulfil our civil duty all over again. ★★★★ Jury Games runs at Theatre Deli until 28th December 2025. Tickets are priced from £46.50 per person. For more info and to book tickets, visit jurygames.com For more reviews of immersive experiences like Jury Games, check out our recent Reviews .

Following our recent hands-on preview of Bridge Command, we sat down with Owen Kingston and Tom Black of Parabolic Theatre to find out more about their immersive starship simulator experience. Photo: Alex Brenner Thanks for taking the time to speak to us. We'd like to start by asking about the initial version of Bridge Command that ran at COLAB Factory in 2019/2020. Can you tell us about the experience of creating that version and what you learnt from it? Owen Kingston : I first had the idea back in 2010, and even at that point I was like "This could be colossal. We just need the resources to do it." I hadn't even started Parabolic at that point, I was experimenting with some immersive-style work, but I started Parabolic Theatre in 2016 so it was several years after that before I ever had an immersive theatre company. A couple of years into having that [Parabolic] we started to think we had the resources to maybe do a very cheap trial of the show. Bertie, who ran COLAB Factory, had space in the basement. Another show had pulled out unexpectedly, and he said "Do you just want to come and make something? Use it for R&D. If you make something and it's cool, sell some tickets for it in the autumn." Initially, we were just going to set up the computers as a tech test, then we thought "We should maybe put some walls around it..", so we put the walls around and then it was "We should make it feel a bit more like a spaceship..." and we just got carried away. That was the initial moment where I put it all together and thought "This is really cool. If only we had the money to do it bigger". We didn't know anybody at that time who might be willing to invest in something that was completely untested. Initially, we were just going to test it for a week. We put some tickets on sale for quite cheap and just sent it out to our mailing list. It was our fastest-selling show - within 72 hours, everything had gone. So then we thought, "Okay, we'll put another week on." And that sold really well. So we did those two weeks of testing, and it went so well - people really enjoyed themselves, even in a very janky piecemeal type set. We thought, "Let's just run it for as long as we can run it and test out our idea of episodic narrative when we do different shows in this world." Photo: Alex Brenner We took a couple of weeks break to fix a few things and make the set a bit more robust and add a few things that we wanted to try, and then we put a month's tickets on sale. Then we just kept adding another month, another month, another month, another month. What we found was that there was a fall-off - probably about 50% of people who came once didn't come back - either because they didn't like it or because they did like it, but the production values were pretty poor. But for the 50% or so who did come back, nearly all of them came back for every single episode that we made. We did nine episodes in the end, and basically everyone would come back for all of them. That's when we realised, "Oh, there's a business model here which works in theory. If only we can make a set that's incredible" So how did you come about securing the funding for this new version of the show? Owen: It was November 2019 - this group booked in, just people who had heard about us from friends of friends. They came along, played the show, and the next day I had an email that said "I played your show yesterday - the set is awful, but we loved the idea. We're an investment company, we would love to talk to you about investing in this and making a really high production value version." I was a little sceptical, but I emailed back and said, "Well, that sounds great, let's have a meeting." I went to their very posh offices in the City, and that's when I was like, "Oh, okay, maybe this is real." I sat down with their head guy, Sonny, for a couple of hours, and hammered out a deal. I was bowled over by their enthusiasm and readiness to be involved, not just by putting money into it, but also wanting to learn how we make this kind of work and then help shape the world of the show and all that sort of thing. We signed that deal in January 2020 - while we were still running the cheap version of the show. We ran it right the way through to the start of the pandemic, and when the pandemic happened, I thought, "Oh, that's it. This deal's going to fall apart." Sonny phoned me up one morning right after the pandemic started, and he said, "Look, don't worry about anything. Keep working on it. Keep doing everything you're doing. Eventually, this pandemic's going to be over, and people are going to want this stuff more than ever". Photo: Alex Brenner One of the common threads that runs through a lot of Parabolic's previous work is the idea that the audience has real agency to control and shape the world they are in through meaningful decisions, with the world responding to them. How do you go about integrating that into a show of this scale? Owen: It has to be built in from the ground up, and that was something that was a real challenge in the beginning - working with incredible theatre professionals who were used to working on linear narrative. So, the lighting designers, the sound designers, all the tech teams, were used to building a show that people progress through linearly, and that isn't as flexible as this. Getting that thinking into everybody's head at the beginning was a challenge because it really is a seismic shift in how you think about planning and how to make something. But if you build it in from the ground up, then actually it becomes very natural, and it becomes the natural endpoint. It's all about shifting that thinking from, "We are going to tell you a story, which is going to be fixed and will always happen the same way every time." It's changing from that to being, "We are going to tell a story together, and we're going to take what your decisions are and we're going to make them meaningful by bending the world of the show around it." How do you manage and keep track of all the decisions guests are making throughout the show? Owen: Really the main tool for that is the back-end database - which is built in Notion - that we use to track everything that the audience decides to do. So long as you can track it, and so long as you can feed back to the audience what the consequences of their decisions are, then it works. The important thing is that you have a way of managing the data and feeding back to the audience the consequences of that data. It's all very well making a decision, but if you never see the impact of it, you might as well have not made it. So we can track all that stuff at the back-end - we can make it meaningful - but unless they know that what they've done - X has produced Y - the whole exercise is pointless. So the feedback mechanism and then the method of data handling, Tom has been the pioneer for that... Tom Black: We did a show a few years ago called Crisis? What Crisis?, which was a politics simulator. That was powered by a spreadsheet that did all of that. It had the cause and effect, and it crucially gave us a way of feeding back into the room "So here's what's happened because of this." With this show, we've commissioned the building in something in Notion, which is much more impressive - it's cloud-based and it's going to have thousands of people in it. It saves not only what your crew did, but what you did. Let's say you come back with none of the same people, all the things you did on that previous mission are saved not just to the crew, but also to you. If you get mixed and matched with some people that did some other things, the Gamesmaster running the show can be like, "Okay, right, it's interesting, we've got a mixed crew - this person went off and did this before and made some enemies in this sector, and these guys have an alliance with these other guys. Let's make a little scenario where they have to maybe be in conflict with each other in an interesting way". But as Owen says, it's knocking over the domino and telling people that's why this happened. Photo: Alex Brenner And it's that level of responsiveness that really makes the entire thing fluid right? Owen: Yeah. It's the thing computer games can't do on their own. Computer games have got to have a decision tree. The developers are not going to be sitting next to somebody, editing the game on the fly for them to accommodate what they want to do, you've got your pre-baked choices. That's what I think is unique about interactive immersive theatre - the live actor, present in the room, who's got a brain. That's why it bothers me that so many immersive shows just make an actor follow a script. Why are you wasting your unique thing that nobody else has? Why not empower that actor to be able to make meaningful decisions about the world of the show? Having done a bunch of other shows before, we've been able to test these things in the small scale. That's enabled us to scale it up really. Tom runs his show, Jury Games, and some of those principles are really evident in that. We've made shows like Crisis? What Crisis? and For King and Country - we've had thousands of hours of being able to test that, being able to pivot the story around audience decisions, so we've got good at it. But I think that makes it difficult to imitate this well because there are so many pitfalls, and it's only really through doing it that you learn how to avoid those. Photo: Alex Brenner You've developed quite a detailed backstory for the shows world. Can you tell us a bit more about the world visitors to Bridge Command will enter into? Owen: What we're trying to do is deliver on the promise of shows like Star Trek, where it's not just about flying around and 'pew-pew, we're going to blow up a load of bad guys'. You are a representative of an Earth government, and you're there to try and be responsible. Initially, the show is centred around an asteroid belt 22 light-years away from Earth called the Adamas Belt. In the backstory of the world, humanity fled to a planet close to that asteroid belt when Earth's environment completely collapsed and they went to that planet to hopefully start again. They then discovered that the planet wasn't as habitable as hoped, and was stuck in this asteroid belt for a number of years, trying to figure out what to do next. Eventually, they crack a new power generation technology that allows everybody to return home to Earth and fix the environment. The current version of the show is set when Earth is being prepared, the environment has been sorted out, and humanity has taken to the stars again, and has returned to the Adamas Belt to recover some of the stuff that it left behind, only to find that a whole human civilisation has sprung up there in the preceding 40 years. So you've got a united government of the entire solar system, Earth and Mars, called the UCTCN. They've arrived in an area of space where nobody knows who they are, and nobody cares. They feel a responsibility towards humanity as a whole, so they're trying to bring these people into the fold, but a lot of them don't want to go into the fold. They're quite happy doing their own thing. There's a lot of political wrangling. We've got five or six different factions in the Adamas Bely, including a whole bunch of people who live on an old ark ship with forests and fields built into the ship so that they can grow food. There's a whole bunch of space criminals who run a gambling operation out of an old space station. There's a whole bunch of pirates who just go out and steal people's shit. There's a variety of independent miners and different factions who all know each other. The UCTCN becomes a kind of police... trying to make everybody work together for the good of humanity. Photo: Alex Brenner By design, every visit a guest has will be different right? You won't end up repeating the same story beats if you visit for a third or fourth time. Owen: Either on the Military or the Exploration team, we can run a lot of unique missions. You could even repeat the same mission parameters in some cases, but make the actual mission feel completely different. You might be ordered to go on a routine patrol around some mining asteroids - that could be the mission, but what happens then is completely up for grabs. You might get attacked, you might encounter somebody who's got a distress call, and then you've got to get them onboard the ship and see what's wrong with them. You might find a weird anomaly in space that you then have to study. Maybe it destroys the shield generator or something. There are all kinds of different potential scenarios you can run so that the mission objectives can then be taken in all kinds of different directions. What do you hope the average audience member that comes to this would take away from it afterwards? What do you want them to leave having felt? Owen: I really like the idea of giving people the experience of genuinely feeling like the best version of themselves. You come aboard the ship and you get to be your idealised self - you get to be the hero. You get to do the heroic thing. You have scenarios thrust in front of you that give you the opportunity to step up. If you'd always imagined, "What would I do if my ship was under attack and I was Captain Picard?" You get the opportunity to test that and hopefully come away feeling ten feet tall because you've nailed it. If people have grown up watching sci-fi TV shows, we want to try and deliver on the opportunity to do the cool things that you've always wanted to do., like set jets to warp core, trigger the self-destruct, or sit in the Captain's chair and go 'Engage'. Tom: I really like the teamwork side of it, especially when people who don't know each other play. I've been to immersive shows where by the end I've hugged people, and I then realise after I've hugged them that I didn't know them until two hours before. I'd love for that to start happening. Because of how much you have to work together if you're going to thrive, it really bonds you together. Owen: The first version of the show, we had people who made friends, they'd come and they'd booked separately - they didn't know each other - they played a game together and then they were like, "I was really fun, should we book the next one together?" And they came back and now they're mates, which is lovely. That kind of thing would be really great. Photo: Alex Brenner Bridge Command begins previews on 27th March in Vauxhall. Tickets can be booked via bridgecommand.space with prices starting at £40.00.

Photo: World Experience Organisation World Experience Organisation (WXO) today announced a new venue for its forthcoming World Experience Summit (WXS 2025). The event will run from 29th April through to 1st May 2025 at Phantom Peak in Canada Water. This year’s Summit will see Phantom Peak’s enigmatic in-world corporation JONACO join as Official Corporate Partners, with the town’s residents offering up a host of surprises across the event's three days, including a keynote from Mayor Pocket himself. World Experience Summit debuted at Phantom Peak in 2023 before moving to New York’s House of Yes for its 2024 event. This year’s event will see over 500 of the Experience Economy’s leading professionals descend on East London - over double the number who attended 2023’s debut event.  Photo: World Experience Organisation In the two years since they last hosted the Summit, Phantom Peak has gone from strength to strength. Its average yearly audience has grown twofold, and its community now boasts almost 1,000 superfans with a 30% return rate. It's received multiple awards, including the TripAdvisor Travellers’ Choice Award (top 10% of things to do worldwide), and a coveted blooloop Innovation Award , naming it the global best immersive experience for 2024. Speaking on WXO 2025, World Experience Organisation founder and CEO, James Wallman, comments: Phantom Peak is a living, breathing example of the Experience Economy in action. Not only is it an amazing immersive experience for an intergenerational audience, it's a financially successful operation that shows how experiences can be as profitable as they are awe-inspiring. Nick Moran, co-founder of Phantom Peak, said the following on hosting WXO 2025 for the second time: Phantom Peak is where it all started for the World Experience Summit, and we can’t wait to welcome back old friends as well as meet the new ones the WXO’s fast-growing event is attracting. Photo: World Experience Organisation World Experience Summit 2025 is part of the debut London Experience Week, which takes place between Monday 28 April and Friday 2 May 2025. As well as hosting the third iteration of the World Experience Summit, London Experience Week showcases the best of the UK capital city’s blossoming experience economy.  A citywide Experience Safari will be announced in the coming weeks, with a full roster of London venues and events that both WXS attendees and the public can visit free of charge. London Experience Week partners London & Partners are working with WXO to secure the very best in London venues, with an initial roster to include exclusive behind-the-scenes experiences at the likes of Monopoly Lifesized & London Tea Tour , Jeff Wayne's The War of the Worlds: The Immersive Experience , Battersea Power Station , The Crystal Maze LIVE Experience , Bridge Command , Cahoots Borough , Frameless , Paradox Museum , Alcotraz , ExCel's Tutankhamun: The Immersive Exhibition and the forthcoming Minecraft Experience: Villager Rescue . WXO Head of Content, Mike Goldsmith, comments: Phantom Peak is a superb example of the capital’s experiential creativity and business smarts and thus the perfect venue for London Experience Week. As well as hosting the best speakers, talks and experiences, we are contractually obliged to announce that World Experience Summit 2025 will also see JONACO, the company that canonically runs the town of Phantom Peak, join us as Official Corporate Partners. That means the Summit will not only see the more ‘interesting’ townsfolk of Phantom Peak entertain WXS attendees over all three days, but Mayor Pocket has some ‘surprise announcements’ which he threatens to reveal in the keynote session he has insisted on giving. We here at WXO are a little concerned but have been told that an unwavering belief in the Cosmic Platypus and JONACO will guide us. Gulp. Photo: World Experience Organisation The World Experience Organisation Summit will run from 29th April to 1st May 2025 at Phantom Peak in Canada Water. London Experience Week will run from 28th April to 3rd May 2025 at various venues around London, with more details to be announced. To find out more about the events and book tickets, visit worldxo.org

Described as 'London Fashion Week for Experiences', WXO's Summit and London Experience Week 2025 will bring together industry leaders from around the world for a five-day exchange of ideas later this month. Photo: World Experience Organisation With WXO's (World Experience Organisation) London Experience Week and World Experience Summit 2025 only a few weeks away, details of this year's speakers, talks and event schedule have been announced and will feature talks from some of the people behind Las Vegas' AREA15, Meow Wolf, Star Wars: Galactic Starcruiser, Secret Cinema and Punchdrunk. Kicking off the five-day long event on Monday 28th April, a London-wide Experience Safari invites guests to see the inner workings of various immersive and interactive experiences with backstage tours of Titanic: Echos From The Past and Minecraft Experience: Villager Rescue, a tour of L-Acoustic's spatial sound showroom in Highgate and the d&b Immersive Technology Experience Centre at the Science Museum. Video: World Experience Organisation Also on offer is a tour of Old Royal Naval College that dives into the site's extensive history as a filming location for the likes of Bridgerton and Pirates of the Caribbean, as well as two Campfires from Joe Pine (author of The Experience Economy: Competing for Customer Time, Attention, and Money) and Amber Case, who will discuss 'How To Craft Seamless Experiences'. In the evening, London Experience Week invites attendees to the immersive, prison-themed cocktail experience Alcotraz in Hoxton, before a social at Good Hotel London in Royal Victoria Dock. Photo: World Experience Organisation On Tuesday 29th April, the World Experience Organisation Summit will take over the entirety of Phantom Peak for three days of talks, campfires, workshops and networking. Starting things off, there's 'Down The Tunnel' and 'Cross The Threshold' - two experiences produced by George Berlin and Frances Viera Blanc, as well as an address from WXO's CEO James Wallman on the State Of The Experience Economy. From there, attendees will have a choice of events to sit in on from the likes of Sasha Frieze ( The Chief Event Officer's Playbook ), Louis Alfieri ( AI Unleashed: Redefining the Entertainment Ecosystem ), and Maria Redin and Lou Pizante ( Cracking the X-Stack ), all occupying different corners of Phantom Peak's 30,000-square foot venue. There's a range of real-world case studies also set to be discussed throughout the day, including a look at how ITV have previously used experiences from the likes of SWAMP to launch TV shows, with plenty more case studies still TBA. Later in the day, the question Does Everything Have to be Immersive? will be posed to the Summit, before Tim Hill details the 4 Steps to Superfans, and Laura Citron explains Why Cities Need Experiences . Rounding off Day 1 of the World Experience Summit 2025, there's a networking session before the winners of the World Experience Awards are announced. Photo: World Experience Organisation Diving into Wednesday 30th April at Phantom Peak, there's the intriguingly named Immersive Audio Magic Mushroom Experience in the morning, the two-hour long Unconference - which is made up of 12 different sessions spread across the venue, in which any attendee can take the stage to share their knowledge - finishing off the morning. The afternoon welcomes Luke Mitchell and Mike Goldsmith to discuss Boomtown Fair's sprawling, festival-wide immersive elements, and Bristol's iconic venue, Wake The Tiger. Alongside that, a roundtable featuring some of the minds behind Elvis Evolution (Andrew McGuinness), The Traitors Experience (Neil Connolly), ABBA Voyage (Ryan Amstad) and Minecraft Experience (Olivier Goulet) will discuss developing and opening IP-driven experiences in the Town Square. David Shulman will host a workshop on getting Investor Ready, and Tracy Sorgiovanni from Riot Games and Justine Tommey from Major League Baseball are just some of the confirmed names set to be hosting case studies that afternoon. In the evening, the London Experience Night Safari kicks off... Photo: World Experience Organisation Giving attendees the opportunity to head out into the city to see, hear, and feel first-hand everything London's experience economy has to offer, over 20 experiences will open their doors to the WXO community, including Bridge Command, Phantom Peak, ABBA Voyage, Lost Estate's Paradise Under The Stars, Avora, Moonshine Saloon, Bubble Planet, Jury Games and Come Alive! Thursday sees a Live WXO Campfire with James Wallman, the return of the Unconference, Bompas & Parr's Kirsten Wilson and Sam Bompas discussing why F&B Is The Essential Immersive Ingredient , Patrick Flynn and Sermad Buni share how Squid Games: The Trials came to be, and there's a workshop on spatial storytelling from Mel McGowan alongside numerous other talks, workshops and case studies, before a Summit Wrap Party at Immerse LDN. On top of this, the summit will also feature a host of extra content and experiential areas, which will feature surprise pop-ups, across all three days, and there are dozens of additional talks and workshops not mentioned here. Video: World Experience Organisation The finale of London Experience Week on Friday 2nd May features a creative studio visit at Marshmallow Laser Feast, a visit to the opening night of spatial audio festival Polygon Live, exclusive tours of BoraBora at Outernet, and an exclusive LXW backstage tour of Layered Reality's Elvis Evolution, which is set to open this summer. Across the whole of London Experience Week, attendees will also have access to discounts on tickets to a huge range of experiences across the city, including ABBA Voyage, Frameless, Lost Estate's 58th Street and Paradise Under The Stars, Moco Museum, The Paddington Bear Experience, Monopoly Lifesized, Minecraft Experience and Tutankhamun Immersive Experience. Tickets for London Experience Week are on sale now via worldxo.org , with applications currently open for their Scholarship Programme, which allows those early in their careers or unable to afford a full-price ticket to potentially still attend. Photo: World Experience Organisation All of the information shared in this article is subject to change. Please check the most up-to-date version of London Experience Week schedule here . London Experience Week will run from 28th April to 3rd May 2025 at various venues around London. To find out more about the events and book tickets, visit worldxo.org