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A heady mix of cabaret, close-up magic, and curated cocktails creates an unforgettable night at The Starling in new immersive show Rhythm&Ruse 'Embrace unknowing' is a mantra that's repeated often throughout Rhythm&Ruse. It's an encouragement to accept that not everything we see can be explained, not every question will be answered, and not being in control can be liberating. Within the world of The Starling, there's little choice but to give over to that mantra and be taken along for the ride. Photo: Rhythm & Ruse Directed by Fania Grigoriou, devised by Sam Booth and Mallory Gracenin, and with musical direction from Naomi Banks, Rhythm&Ruse carried a heavy weight on its shoulders from the moment it was first announced. There's a certain pedigree that comes with having such well-known names within the world of immersive collaborating on an entirely original production, and thankfully, the show not only meets those lofty expectations but exceeds them. With a five-piece jazz band, close-up magic, and a curated selection of five cocktails included with your ticket, the show may well be London's best night out.   Our introduction into the world of Rhythm&Ruse begins with a welcome speech from Ruby (Jessica Hern, The Great Gatsby Immersive/Doctor Who: Time Fracture), a society member at The Starling who immediately sets the tone for the evening's proceedings. We're told to prepare for an evening of wonder in which we'll leave the real world behind and be able to embrace our truest selves. Bubbling just below the surface of this speech, and many others throughout the evening, is the fact that there's much more to the speakeasy than first meets the eye. Photo: Rhythm & Ruse Hosts Tom and Rosie Archer (Sam Booth and Mallory Gracenin, The Burnt City/Sleep No More) do little to quell these suspicions. We're introduced to the pair long before the show begins, with Rosie sat blindfolded on stage, transcribing a vision onto a piece of paper while Tom silently looks over her as guests as shown to their seats.   Once the show begins in earnest, there's talk of how we should all be in the habit of believing in the impossible every day to help make our dreams come true. Is it merely a motivational speech or part of a recruitment drive for their secretive society? Either way, the pair complement each other wonderfully, with Tom's charismatic steadiness anchoring Rosie's more mischievous and free-spirited approach to hosting. Photo: Rhythm & Ruse Rhythm&Ruse quickly settles into a rhythm that sets the pace for the evening. A performance takes place on the main stage, followed by a break. During that break, either a fresh round of drinks arrives as Tom, Rosie, Ruby, and Charlie (the second society member, played by Elliot Rodriguez) mingle and interact with guests, or one of the show's nine close-up magicians will arrive at your table for a personal performance. Afterwards, the focus shifts back to the main stage, and the cycle repeats.   It’s no surprise that every encounter with one of the close-up magicians is an intimate and thrilling experience. The close quarters in which they operate, with everyone mere feet away, allow you to interrogate their every move, and across the evening every guest gets a chance to be part of the action. Throughout the show, four magicians will sit alongside you at your table to perform. During our visit, we spent time with Laura London, Puck (Eddie), Saavan Thethy, and John Welles, who were all excellent. Photo: Rhythm&Ruse   From seeing someone's jewellery vanish into thin air before reappearing moments later attached to a set of car keys to having a billiard ball thump onto the table out of a playing card pack or collectively powering a lightbulb through a daisy chain of hands linked to a non-existent battery, each performance would elicit reactions of amazement and awe.   The on-stage performances from Naomi Banks and The Revellers have a similar effect. Under the musical direction of Banks, who regularly drew large crowds as Orpheus within The Burnt City's Peep, the five-piece band delivered a series of phenomenal renditions of songs, including I Put A Spell On You by Nina Simone and Why Don't You Do Right? by Peggy Lee and Benny Goodman. These performances are perfectly suited for the show's decadent jazz age setting and are a great showcase of Banks' powerhouse vocals. Photo: Rhythm & Ruse A select few guests at every performance have the opportunity to pull back the curtain and discover more about the mysteries surrounding The Starling in intimate moments away from the main room. During our visit, an out-reached hand from society member Charlie midway through the show was our invitation to talk privately. According to Charlie, our auras were so radiant that he and fellow society member Ruby had no choice but to pull us aside to talk, away from inquisitive ears.   We're told that we're right for the flock and are on our way to becoming a part of it. "You make the shadows disappear. A light beams out of you that just... attracts people towards you" said Charlie as we locked eyes intensely. While it's impossible to get to the core of what all of these allusions to secret societies add up to in just one visit, it's a tantalising starting point for the ongoing narrative that Rhythm&Ruse will reveal over the coming months and years. Before the end of 2024, there are planned seasonal updates to the show for Halloween and Christmas. With the producers holding the answers to what else is at play within The Starling close to their chests for now, we're seemingly playing the long game when it comes to finding out exactly what they have in store for us and our radiant auras. Photo: Rhythm & Ruse If you asked us how any of the magic on display at Rhythm&Ruse is achieved, we wouldn't be able to answer you. The satisfaction of witnessing magic up close doesn't come from knowing how a trick is done; it comes from the unknowing. There is one thing we can say with certainty though... Rhythm&Ruse is one of the best nights out we've had all year, and we can't wait to return. Photos: Rhythm & Ruse ★★★★★ Rhythm&Ruse is booking until 23rd November 2024 at The Vaults. Tickets start at £37 and include five curated cocktails. To book and find out more, visit rhythmandruse.com To stay up to date on news, previews and reviews of immersive shows like Rhythm&Ruse, follow us on Instagram .

From family-friendly frights and creepy soirées to intense experiences that promise big scares, here are our recommendations for London's best immersive experiences this Halloween... As always, October is looking to be a bumper month for spooky immersive experiences in the capital. To help you make the most of the spooky season, we've gathered together all the information you need to make your next night out a great one. Below is our pick of the best experiences on offer across the month for those looking for various levels of frights. From family-friend spooks to intense experiences, there's something on offer for everyone's taste this Halloween, if you're brave enough... Phantom Peak - Hallowed Peak We've spoken at length previously about how good Phantom Peak is. In our opinion, this platypus-loving mining town is the most enjoyable immersive experience currently on offer in London. While it's open nearly year-round with regular updates and re-themes, Halloween is when the place comes into its own. Their Lunar Festival returns for a third year, with both previous Hallowed Peak seasons having enjoyed multiple sold-out dates. There are 10 brand new story trails available for guests to experience this season, and if they are anything like previous years you can expect to be doing anything from banishing demons to encountering haunted dolls, visiting the Undertakers for a coffin fitting, and almost certainly lending a hand to the town's resident paranormal investigators - Spectre and Vox. Brand new for Hallowed Peak 2024 is The Lunar Remedy, a cocktail experience add-on that will see guests in search of a remedy to a series of strange afflictions that are spreading among the townsfolk of Phantom Peak. In a race against the clock, guests will need to explore the town and interact with its characters in a self-guided experience that culminates with a mix-it-yourself cocktail, along with an exclusive trail card. Photos: Alistair Veryard This is an important and eerie time of year for the residents of Phantom Peak. It’s the time of year when the moon is closest to the Ridge, and Diamant begins to react in strange and unpredictable ways. Spirits rise from the grave, creatures lurk in the shadows, and the Church of the Cosmic Platypus raves in style! Expect a thoroughly original take on the Halloween traditions that made this unique event so popular in 2023! Phantom Peak is a family-friendly experience, and the free-roaming, experience-at-your-own-pace design of the show means you can take a break from the storylines at any time and pick them back up without missing anything. There's a string of other activities on offer including carnival games, the annual costume competition and multiple food and drink options. The show's creators describe Hallowed Peak are 'more spooky than scary', so it's an ideal experience for those wanting a Halloween experience that's not intense. 📍 Canada Water 💰 From £42.00 👻 Scare Level: 1/5 🕒 27th September - 10th November 2024 🎟️ Book via phantompeak.com Open House: The Escape Room - Screamworks In recent years, ScreamWorks has earned a reputation for creating London's best immersive horror experiences. Their debut show, Bloodbath, launched in late 2022 and was unlike anything else on offer in the capital at the time. It pushed the boundaries and conventions of immersive theatre to an extreme and saw visitors being force-fed, tied up, undressed, and chased through an air vent on their hands and knees. Last year saw them debut The Ghost Hunt - another exceptionally scary immersive horror experience that had guests make their way through a Victorian house illuminated only by torchlight. Set within the abandoned home of the Luff family, who all met their end in bloody murder-suicide back in 1937, visitors were invited by paranormal investigator Hector Phoenix to explore the family home and discover the truth behind what really caused their horrific deaths. For 2024, they return with Open House: The Escape Room. The experience is a combination of immersive theatre and escape room elements, and ScreamWorks CEO Gary Stocker describes it as their most exciting immersive concept yet - being the culmination of everything they've learnt in the last few years. East London’s most haunted house is up for sale and seasoned ' escape agent’ Jason Shepherd has teamed up with ScreamWorks to present one of the most innovative house-hunting events of the season: Open House – the immersive escape game. What better way to explore and experience the highlights of this unique property than to be locked inside, with a delicious drink from our brand sponsor and a host of fun games and challenges to complete? This enormous Victorian mansion is dripping in history, full of characters and the perfect forever home for a young couple or family looking to take their lives to the next stage. With a bathroom to die for and a suite of bedrooms that will guarantee you rest in peace, this captivating property won’t cost you an arm and a leg! While the house has a guide price of £666k, the current vendors are keen for a quick sale and are willing to accept any offers whatsoever. Photos of previous ScreamWorks shows. Open House will run between 60 to 90 minutes depending on the type of booking made - the 90-minute experience is set to be more intense and be warned - includes moments of climbing and crawling. Those who are curious enough during the house tour may also uncover hidden paths and secrets, leading them down even more terrifying routes through the experience. 📍 Bethnal Green 💰 From £45.00 👻 Scare Level: 3.5/5 🕒 From 27th September 2024 🎟️ Book via screamworks.london Tales of the Strange The creators of Tales of the Strange are well-versed in providing great Halloween outings. For several years they ran Ghost Newington, a must-loved immersive walking tour that had visitors exploring the winding backstreets, cobbled yards and haunted ale houses of Stoke Newington under night fall. Last year saw them swap the streets of Stokey for a bricks-and-mortar venue in Haggerston with The House of Dust, which invited visitors to enjoy three supernatural cocktails as The Ghost Master took them on a twisted journey through the annals of time to a world where ghosts, murderers and ghouls were brought to life. For 2024 they've shifted down to Brixton for Tales Of The Strange. The show is a collaboration between JimJack ( part of the team behind Macabre & Ghost Newington ) and Vi & Sly - a design duo know for creating hauntingly creepy puppets and props. In a last ditch attempt to save his ailing career, horror writer Jeffrey Thrillerman dares you to encounter some of his twisted tales, brought to life for the first time by a motley team of actors. Housed within a haunted railway arch in Brixton, this pop-up extravaganza is part theatrical experience, part bar and wholly good vibes! So, grab a cocktail and hang with your friends as we regale you with an anthology of strange tales. What’s that? You’re feeling peckish? Fear not, we’ll have a selection of dastardly dishes available, prepared by dead-chef Danny Jack. Oh, and after the performance we wont just kick you out onto the cold streets of Brixton, no ma’am! You’ll get to hang out for the night in the tunnel of Strange. You can drink, dance, feast and frolic to the dead in style. Perhaps you’ll regale new found friends with your own tales as our house DJ’s play groovy 70s vibes.  📍 Brixton 💰 From £20.00 👻 Scare Level: ?/5 🕒 31st October - 2nd November 2024 🎟️ Book via designmynight.com Make Believe: A Halloween Grotto This Halloween season brings with it the debut show from Scarehand Productions, a new venture from Christopher Blackmore, Amy Sherlock, and David Hoskin. The company's mission is to "create boundary-pushing Halloween experiences soaked in atmosphere and scares," and with over 20 years of combined expertise, they're well-equipped to deliver. Christopher Blackmore was one of the writers for Deathcell, the much-talked about extreme immersive horror experience that returns to London in early 2025 with Deathcell: Magenta , and David Hoskin did the dramatergy and sound design for Gorgon: A Horror Story back in 2021, which BroadwayWorld described as " evocative and terrifying". If the trigger warnings for Make Believe: A Halloween Grotto are anything to go by, you can expect a claustrophobic, anxiety-inducing experience that touches on suicide, wasps and most terrifyingly of all... germs. This Halloween, cross into the Grotto—a shadowy world where innocence and nightmares collide. Inside, your deepest childhood memories twist into something darker, more menacing. What was once joyful becomes unnervingly sinister, forcing you to confront your inner fears. Not everything is as it seems, as the veil between what is real and make believe gets thinner... A 30 minute horror-filled experience, audiences are guided through eerie, atmospheric den of memories and compelled to follow the Grotto’s cryptic commands in an unnerving journey to meet your forgotten inner child. Expect interactive performances, haunting visuals, and spine-tingling surprises that will leave you questioning what is real and what is make-believe. This isn’t your typical haunted house; it’s a chilling journey of self-discovery and terror. Are you brave enough to enter the Grotto? 📍 Loughborough Junction 💰 From £15.00 👻 Scare Level: 4.5/5 🕒 25th October - 2nd November 2024 🎟️ Book via designmynight.com Kraken ScreamFest: House of Curses Kraken Rum return with their annual immersive Halloween experience, Screamfest: House of Curses. In previous years they’ve delivered knock-out events including last years Screamfest: Shock Exchange, that had guests wear heart monitors as they ventured through the corridors of Clerkenwell Catacombs, rewarding the bra rats with discounted drinks. For 2024, they’ve put together a curated exhibition of the world’s most cursed and haunted pieces of art, the experience will have guests sign a waiver before being allowed to enter the final exhibit. Enter at your own risk. To help ward off any evil spirits, Kraken are included two cocktails as part of the ticket price, which is only £10 per person. This Halloween, The Kraken is bringing a new kind of existential horror to the UK by opening what could be the world’s most dangerous art gallery. That’s because the temporary exhibition will, for the first time, bring together the most notorious haunted and cursed artworks and objects in the country, all known to have inflicted terror and suffering upon those that have gazed upon them. Accessible only after signing a waiver, the final exhibit contains one of the most haunted paintings of them all. This original piece was the centre of a 2023 media storm after it was returned to a charity shop by multiple owners who reported chills, being chased by a demonic figure and one person even having to call an ambulance after collapsing in the painting’s presence. Those who do dare enter will be granted only a short time in the presence of ‘The Unknown Girl’ before being ushered out to the safety of The Kraken Bar. 📍 Soho 💰 From £10.00 👻 Scare Level: ?/5 🕒 31st October - 2nd November 2024 🎟️ Book via universe.com For the latest news and updates on all the best immersive Halloween experiences in London this October, follow us on Twitter  or Instagram 🎃

Prior to its opening later this month, Immersive Rumours get a hands-on demonstration of Bridge Command - the ambitious new immersive experience from Parabolic Theatre that will allow guests to command a spaceship and venture into the expanses of space. Photo: Alex Brenner Bridge Command, an immersive starship simulator experience, is set to take off later this month in Vauxhall. Earlier this week, Immersive Rumours were invited to attend a sneak preview of the experience led by Owen Kingston, Artistic Director of Parabolic Theatre, at the show's venue on Albert Embankment. Bridge Command's history dates back to 2019 when Parabolic launched a previous version of the show at COLAB Factory in Borough. Despite the small scale and limited budget, that initial iteration caught the attention of investors who saw potential in its concept and wanted to enable the creation of this reworked, supersized version of the experience. And what an upgrade it is - with two different starships on-site nestled beneath railway arches a stone's throw from Vauxhall station, the size of these sets far exceeds expectations. There's futuristic bunk beds, a sick bay, captain's quarters, fully functional toilets that have a view looking out into the expanse of space, as well as smaller ancillary ships that can just about squeeze in all the crew members (which will range from four to fourteen per session) in case of emergency. As part of our visit we had a hands-on demo with the command bridge of the UCS Havock. There's multiple touchscreen consoles for each crew member, whether they're working on Navigation, Damage Control, Power Management or any other of the nine Officer roles available. Every mission requires a healthy dose of team co-ordination, with a constant relaying of information from one role to another needed in order to keep both the ship and the galaxy under control. Despite some initial chaos as everyone got their bearings, people settled into their individual roles quickly thanks to assistance from the cast who were on hand to explain the different interfaces and how they interact. Photo: Alex Brenner Elsewhere on the ship, things weren't going quite so smoothly. Our fuel cells had nearly depleted, and a sudden loss of power ship-wide meant that new ones needed to be dispatched from a neighbouring allied ship via the Comms Officer, who had to quickly broker a deal that would keep us operational. With freshly charged fuel cells now in hand, we found ourselves running down the hallways of the UCS Havock as fast as we could to restore the ships functions. We were told about several other scenarios in which crew members would need to leave their posts in order to keep the ship working as required - adding more pressure to what is already an intense experience. In the event that a group find themselves in an unbeatable situation, or the ship falls into complete disrepair, there is of course one last resort - the self-destruct. Never ones to turn down an opportunity, our group were more than happy to see all our previous hard work go up in flames at the mere mention of being able to detonate a bomb on-board the ship. Once armed, we had just 60 seconds to evacuate the ship and ensure our safety in the escape pod. Photo: Alex Brenner One of the unique selling points of Bridge Command is the agency that audience members have over what unfolds. Their decisions - both good and bad - have lasting impacts on the narrative, with the show designed to respond and bend around players' decisions however left-field they may be (as long as they’re in keeping with the world Parabolic have created).  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. We're going to make them meaningful by bending the world of the show around it." Owen Kingston on designing Bridge Command to give audiences agency This is an idea that they've explored and pioneered in the past as a company, most notably with Crisis? What Crisis? and For King and Country. If this isn't impressive enough on its own, Bridge Command also allows these decisions to carry over to repeat visits, meaning your past choices will impact your experience if you visit again. The behind-the-scenes infrastructure that facilitates this has also been upgraded this time. What used to just be a huge spreadsheet is now a cloud-based system built in Notion that according to Tom Black, Artistic Associate at Parabolic Theatre, will "save all the things that you did on that mission, not just to the crew, but also to you". It works to such a degree that if two guests have visited before as part of separate missions, their individual decisions will merge and impact their crews storyline when they play together. The hope is that this level of individual personalisation will ensure people come back again and again, picking up right where they left off. The 2019 version of the show deployed a rudimentary version of this, which worked to great effect according to Owen Kingston. Around 50% of first time visitors would return again, with "nearly all of them who did come back, came for every single episode that we made. That's when we realised, "Oh, there's a business model here which works in theory"" Photo: Alex Brenner We've had thousands of hours of being able to test being able to pivot the story around audience decisions, so we've gotten good at it. But I think that makes it difficult to imitate this as well because there are so many pitfalls, and it's only really through doing it that you learn how to avoid those. Owen Kingston on Parabolic Theatres' experience at adapting to audience decisions on the fly All this narrative flexibility is all well and good, but what exactly can we expect from the story of Bridge Command? According to Kingston, they're "trying to 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". Acting on behalf of UCTCN - a new political union combining the governments of both Earth and Mars, tension and in-fighting between different groups plays a big part in the show. "We've got five or six different factions in the Adamas Belt - people who live on an old ark ship with forests and fields built into the ship so they can grow food, there's a bunch of space criminals who run a gambling operation out of an old space station. There's pirates who literally just go out and steal people's shit. There's a variety of different factions who all know each other. The UCTCN becomes a kind of a police, trying to make everybody work together for the good of humanity." Photo: Alex Brenner While there are plans for regular updates to the overarching story of Bridge Command in the future, it appears the teams current focus is on perfecting an experience that both satisfies guests desire to do something unique, and feel connected to those around them while doing so. 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 when you were playing, because of how much you have to work together if you're going to thrive, it really bonds you together. Tom Black on the kind of connections they hope to see come out of Bridge Command Photo: Alex Brenner Upon launch, there are two main mission types on offer - Military and Exploration. Both involve starship combat, but the Military Missions focus more on ship-to-ship confrontation whereas the Exploration Missions allow players to delve into the mysteries of space. The custom built set is fully integrated with bridge simulation software, meaning that whatever takes place in the simulation, from an enemy attack to a ship malfunction, will directly impact the physical set causing systems to break and sparks to fly. This is a truly unique project that has been years in the making. It is a remarkable blend of immersive performance, interactive storytelling and gaming technology, and there really is nothing else out there quite like it. We are extremely excited to finally share it with the world. Owen Kingston on Bridge Command Bridge Command begins previews on 27th March in Vauxhall. Tickets can be booked via bridgecommand.space  with prices starting at £40.00.

The Kraken Rum announce their new pop-up immersive Halloween horror experience in London, where the prices of drinks are determined by visitors’ heart rates during an 'immersive horror gauntlet'. This article was first published in 2023 and is in relation to Screamfest: Shock Exchange. Click here to read about 2024’s Screamfest: House of Curses. A new pop-up immersive experience this Halloween by The Kraken Rum will see visitors don heart-rate monitors before being thrown into a unique horror experience. The price they pay at the end of the experience in the bar for cocktails will be dictated by how much their BPM increased while inside. Developed alongside The Recreational Fear Lab, the immersive pre-bar experience is 'scientifically designed to make hearts pound'. The event is described as 'an immersive horror gauntlet' that will be 'dark, suspenseful and heart-thumping-out-of-the-chest frightening, it has more scares per minute than the best horror movies and is designed with one aim in mind: raise heart rates.' Guests descending into this heart of darkness will find themselves in a twisted testing ground - an arena of terror designed to discover if they are brave enough to receive The Beast’s benevolence by way of lower-priced cocktails. Once through the gauntlet guests will find themselves in the relatively safe embrace of The Beast’s bar, where they’ll discover just how much they were able to control their BPMs – or not. Those with lower heart rates will have their bravery compensated, while those who let fear take over will be charged incrementally more. Mathias Clasen from The Recreational Fear Lab says the following... An increase in heart rate is among the most well-known physiological indicators of fear and research has identified a range of stimuli that reliably induces fear in the average person. It is this knowledge that hosts of Screamfest VII have used in an event designed to heighten fear, and, by extension, heart rate. Hearts don’t lie, even in the presence of masking smiles. Tickets for Screamfest VII: Shock Exchange are priced at £10 each and include a cocktail. All subsequent drinks will be priced in line with guests’ heart rates. Those with racing hearts won’t pay more than £7 and resting hearts less than £3. Those interested in attending will need to book quickly, as there are limited spaces available, with many time slots already sold out. Kraken Screamfest VII: Shock Exchange will run for three days at the Clerkenwell Catacombs, from 26th to 28th October. Tickets can be booked via Universe .

Screamworks, London's premier immersive horror creators, return with Open House - a new experience for Halloween that fuses immersive horror and escape rooms. In recent years, ScreamWorks has earned a reputation for creating London's best immersive horror experiences. Their debut show, Bloodbath, launched in late 2022 and was unlike anything else on offer in the capital at the time. It pushed the boundaries of immersive theatre to an extreme and saw visitors being force-fed, tied up, undressed, and chased through an air vent on their hands and knees. Last year saw them launch The Ghost Hunt - another exceptionally scary immersive horror experience that had guests make their way through a Victorian house illuminated only by torchlight. Set within the abandoned home of the Luff family, who all met their end in bloody murder-suicide in 1937. Visitors were invited by paranormal investigator Hector Phoenix to explore the family home and discover the truth behind what caused their horrific deaths. "I think it's the scariest show we've done yet by far. We're building on the things that have worked so far in our experiences, but it's always been about psychological fear more than anything else." ScreamWork's Gary Stocker on Open House: The Escape Room Bloodbath by ScreamWorks (2022) For 2024, they return with Open House: The Escape Room. The experience is a combination of immersive theatre and escape room elements. ScreamWorks CEO Gary Stocker describes it as their most exciting immersive concept yet, and the culmination of everything they've learnt in the last few years. "I've always liked escape rooms for the fact that they really are quite immersive and give you a little bit more agency," says Stocker "but then there are some massive challenges with them that we've been butting our heads against - trying to tell a story in an escape room is almost impossible. People want to play the games, but they're so disruptive to the story because you can't really make someone believe that they're in a real story and then suddenly you go 'throw these ping pong balls into this cup to get a clue'. We needed a format where the games could work and coexist, but still allow us to tell a story." The Ghost Hunt (2023) by ScreamWorks The official description for Open House: The Escape Room is as follows... East London’s most haunted house is up for sale, and seasoned ‘escape agent’ Jason Shepherd has teamed up with ScreamWorks to present one of the most innovative house-hunting events of the season: Open House – the escape room. What better way to explore and experience the highlights of this unique property than to be locked inside for up to two hours, with a delicious drink from our brand sponsor and a host of fun games and challenges to complete? Possessed by the previous inhabitants for almost half a century, this enormous Victorian mansion is dripping in history, full of characters, and the perfect forever home for a young couple or family looking to take their lives to the next stage. With a bathroom to die for and a suite of bedrooms that will guarantee you rest in peace, this captivating property won’t cost you an arm and a leg! While the house has a guide price of £666k, the current vendors are keen for a quick sale and are willing to accept any offers whatsoever. Bloodbath by ScreamWorks (2022) Open House will run between 60 to 90 minutes depending on the choices visitors make. They will have complete freedom to choose their path, and those who are curious enough may uncover hidden secrets leading them down even more terrifying routes. Gary Stocker is eager for people to explore these options: "It's perfectly possible to come to this experience, play the games, and leave thinking that there was nothing else to it. However, there's a game inside the game to be found. For those people who are curious enough to explore and find it, they will end up having a completely different experience. We've decided to reward the curious and, in many respects, punish them too. We'll reward you by making you feel like you're going to die." Bloodbath by ScreamWorks (2022) Each group will be guided by Jason Shepherd, the property's "escape agent," who serves as both guide and game master as visitors complete a series of puzzles and tasks. For each completed task, there's a small gift from one of the show's brand sponsors, plus a complimentary drink during the house tour. Screamworks will also provide digital copies of photos and videos taken during key moments of the experience, accessible via a portal on their website. According to Stocker, this addition was developed in response to frequent requests from visitors: "It's a really nice addition because when everyone leaves our shows, they always ask 'Is there any chance I can see some footage from the CCTV cameras of this bit?' We basically have a full-time team actioning customers' requests at the minute for the footage. So now that this is launching, it'll happen automatically." Ghost Hunt by ScreamWorks (2023) Tickets for Open House are priced at £45.00 per person, with options for either public or private time slots. Each slot can hold between 2 to 7 people, and returning visitors will receive a discount if they wish to come back and try alternative paths through the experience. You can book via screamworks.london Photos from ScreamWorks' previous productions. Open House runs in Bethnal Green from 27th September 2024 until 3rd November. Tickets start at £45.00 per person and can be booked via screamworks.london

Phantom Peak's new Halloween offering gives us an opportunity to speak to the dead alongside Vesper - the town's newest character. We ventured over the Ridge to try it out... Immersive Rumours received complimentary tickets to this show and as such, are disclosing this information before  our review. They have had no input in the below and all thoughts are our own. Photo: Alistair Veryard Phantom Peak is an immersive experience we've spoken at length about before ( see our recent five-star review here ). It continues to be one of our favourite events in London - a big part of that is the regular seasonal updates. With a fresh load of trails recently unleashed for Halloween, we've already visited several times to explore the town and see how Phantom Peak's overarching story continues. This year on top of the ten Hallowed Peak trails available, there's a new add-on for those who want an extra dose of spooks during their visit. For an additional charge, you can take part in Phantom Peak's Spooky Seance behind closed doors with Vesper - one of the show's newer characters. Earlier this week, we travelled over the Ridge to try out this brand-new experience and see what it's all about.... Our séance experience began with Vesper welcoming us in a dimly lit corner of the town's closed-off JonaLabs facility. With only a single lantern to illuminate the space, Vesper asks if we've ever spoken to the dead before. When our group of five all say that we haven't, it's revealed by Vesper that it's also their first time hosting one. They're confident that collectively we can manage it without any hiccups, but to be safe they're going to cast a protection spell on us - just in case... The cast of characters included in each of Phantom Peak's seasons varies based on the main storylines. It's not uncommon for characters to be absent for entire seasons, and later return. For this year's Hallowed Peak, we've been introduced to Vesper - an aspiring medium who has arrived in town seemingly due to the increased paranormal activity that's been reported as of late. With a strong dislike for Spectre - the town's defacto paranormal investigator who's been a mainstay of the show for the last few seasons, they seem determined to prove themselves and out Spectre as being little more than an overpriced racketeer. Those who are up-to-date on their Phantom Peak lore may remember the JonaLabs facility was added earlier in the year during the Platypus Parade season. It's an impressively themed space that we're glad to see is getting some use again. Upon entering, Vesper comments that there was an incident that took place previously involving a JonaLabs employee that ended horribly. During Platypus Parade, Dr. Autumn had their consciousness uploaded into one of the town's robotic inhabitants - something that seems to have happened in Phantom Peak at least a couple of times now. Photo: Alistair Veryard We're invited to take a seat around the ouija table in the middle of the space and talk to some spirits. Guided by Vesper, we managed to connect with a number of ghosts during the experience. With each interaction, our group is invited to place a small wooden trinket we were given at the start on one of three response options - we can either confront, console or condescend the spirits. Each option leads to a different reaction from the spirit, and while it's largely inconsequential which we picked, there was still a feeling of wanting to pick the 'best' option amongst the group. As we've come to expect in Phantom Peak, these interactions with both Vesper and the ghosts we contacted all have the familiar wit and humour you see in every other bit of the show. One of the spirits is after some dating advice (is it okay to go on a date with the zombie version of your own body?), another feels some guilt towards scaring a child - the tone is very much in keeping with what you'd see doing any of the show's ten main trails. As the experience progresses, and with this being Vesper's first séance, it's no surprise that things don't quite go according to plan by the end. The conclusion of the show sees us fleeing JonaLabs and facing some peril at the hands of a spirit. It's an engaging and intense ending that sees us in another area previously unseen since Platypus Parade racing against the clock to escape to safety. Within giving the ending away, the séance is another example of Phantom Peak's commitment to long-form storytelling and directly ties into events of the shows past. While the experience is light on anything resembling proper scares or spooks, overall it's a fun addition to the Hallowed Peak season. Within a show that is built around one-on-one interactions with the townsfolk, getting 20 uninterrupted minutes with a character is great and well worth your time if your favourite part of Phantom Peak is these personal moments. Additionally, for those who are avid trail card collectors, there's a unique card for the séance, which isn't available otherwise. ★★★★ Hallowed Peak runs until Saturday 5th November. Tickets are priced from £39.99, with the Spooky Séance an additional £18.99. Tickets can be booked via phantompeak.com . Check out our other reviews from Phantom Peak here .

Immersive Rumours received complimentary tickets to this show and as such, are disclosing this information before  our review. They have had no input in the below and all thoughts are our own. Canada Water seems to do pretty well for itself when it comes to immersive experiences - there's an area a stones throw from the tube station that has been home to some of the capital’s best experiences in the last decade. Whether it’s Secret Cinema’s run of shows between 2015 and 2016 at Harmsworth Quays that saw the company at a creative high or the ongoing story within Phantom Peak, Canada Water is a hotspot for great immersive work. This trend continues with Rumble In The Jungle Rematch, taking place at Dock X from now until the end of October. Inspired by the events surrounding the infamous 1974 fight between Muhammad Ali and George Foreman, the latest show from Rematch - who specialise in recreating infamous sporting moments of the past, is a heavyweight contender for one of the best new immersive shows of the year. Rumble In The Jungle Rematch has big shoes to fill - how can you try and do justice to what is widely regarded as the best sporting moment of all time? Director Miguel Hernando Torres Umba seems to have found the answer - by expanding the scope of the show well beyond the boxing ring, to the entire city of Kinshasa. It’s a show that explores the impact and legacy these once-in-a-lifetime events have on individuals, countries, and the culture as a whole and demonstrates how the ripple effect from one night can echo for decades afterwards. In 1974, the country of Zaire was overseen by President Mobutu, who had seized power in a coup nine years prior to the big fight. Throughout his presidency, he would regularly have political opponents killed, repeatably used the country’s infrastructure and resources to grow his own personal wealth, and mismanaged the country’s economy amongst many other things. Most agree that the boxing match took place in Zaire in an attempt to both distract from the political scrutiny Mobutu was under at the time and improve the reputation of Zaire to the wider world - which today we refer to as sports-washing. In the days leading up to your visit, you’ll be encouraged to register on the events online portal. Once on there, you’re offered a choice of four character types - World Boxing Organiser, Reporter, Performer and Spectator. Each has its own outfit suggestions and point of contact once you’ve made it to Kinshasa. For our visit, we chose to be Reporters, and our contact was David Frost - who gave us a thorough walk-and-talk introduction to the city of Kinshas once we found him. He also tasked us with trying to interview the two fighters on tape (though this seems to be a unique one-off experience, as we didn’t see any other reporters with tape recorders in hand during our evening...) Once inside you’re free to explore the space - which is impressively large, complete with multiple stages, bars and food vendors, a locker room, market stalls and training areas. While it’s all built to a very high standard and has a lot of small details scattered throughout, there isn’t much else to discover after your initial walkthrough of the space, and the focus of the show’s immersive elements seems to be on large crowd experiences over individual exploration, though it's there if you dive head first into the experience... The tape recorder we'd been handed earlier in the evening came into its own during a scene where George Foreman was doing a speech in the market area mid way through the show. While attempting to 'record' what was being said, George spotted us in the mass of observers and beckoned us over to ask him a few questions in front of the crowd. Alexander Ajuwon, who portrays George Foreman, does a stellar job of capturing his mannerisms, and we found ourselves rooting for him to win, even already knowing the outcome of the yet-to-happen fight. Shortly after our on-stage interview, we followed a hint from David Frost we got earlier in the show and we were able to speak to a character in a secluded corner after a confrontation with the local military police and learn more about their opinions on the wider political climate in Zaire at the time. It’s a testament to the show that it doesn’t shy away from addressing the reality of the times. There are repeated references to the hardship that locals find themselves under despite the eyes of the world turning to their backyards, and you can sense the tension between what is outwardly portrayed to be happening in Zaire and the reality away from the cameras. For non-reporters, their experiences will likely differ as their focus is centred elsewhere from the outset. Those who opt for the World Boxing Committee character type could likely spend their time only following the boxers around from press conferences to interviews to training sessions and get a deeper feel for the fighters’ headspaces and relationship with one another going into the fight. If you’re mainly there as a fan of boxing, this feels like the path for you. The same goes for those who choose to be Supporting Artists - the focus would largely be on the musical aspects of the experience, of which the show has many. It all comes to a head just before the finale of the show with a performance on the main stage featuring James Brown, Miriam Makeba and Cecil Cruz as part of Zaire 74 - a largely forgotten music festival that took place in the build to the fight. Photo: Rumble In The Jungle Rematch/Lox Photography For those who want a bit more history concerning Muhammad Ali and his journey leading up to the fight, there’s a 10-minute VR experience tucked away towards the back of the venue, which while being very informative, is maybe overly long when you can remove the headset and see a real-life interpretation of Ali with your own eyes in the same space. The food offerings for those who travel to Kinshasa is courtesy of The Future Plate and is a mix of Congolese and Western fusion. The smell of their cooking permeates the venue and adds another level of immersion for guests, whether they chose to eat or not. Another nice touch within Rumble In The Jungle is the cup system for drinks - for a £1 charge you get a reusable cup themed to the fight which also serves as a nice souvenir of the experience. For those inclined, there's also show programmes and a selection of merchandise available. The main event on the Rumble In The Jungle Rematch card is undoubtedly the finale of the show, which seems a live recreation of the Ali-Foreman fight. With audiences flanking three sides of the boxing ring on tiered seating, and a backdrop of archive footage from the original fight, live coverage of Rematch's recreation, and several well executed pre-recorded moments projected behind the ring, the recreation of the fight is a sight to behold from start to finish. Rematch's recreation contains some of the most impressive fight choreography we’ve seen on a stage, and is breathtaking to watch. With every punch, block and dodge on the huge backing screen being mirrored precisely by the two actors playing Ali and Foreman, it’s a spectacle from start to finish and witnessing it first-hand is undoubtably the highlight of the show. ★★★★ Rumble In The Jungle Rematch is located in Canada Water and is current set to run until October 29th. For more information visit rumbleinthejunglerematch.com

Midnight Circle Productions return to The Crypt in Bethnal Green for a two-week run of Frankenstein: An Immersive Show. It's an intimate portrayal of obsession and grief that reframes the original text into a story focused on one family's downfall. Immersive Rumours received complimentary tickets to this show and as such, are disclosing this information before our review. They have had no input in the below and all thoughts are our own. Following the success of Midnight Circle Productions' adaptation of The Picture of Dorian Grey earlier this year, this new immersive theatre company have seemingly found themselves right at home adapting classic works of fiction into promenade theatre. Taking over the basement level of a Bethnal Green church, this production of Frankenstein is as dark and gothic as one would expect. Midnight Circle’s version reworks Mary Shelley's original text to succeed as an immersive show - the books original opening, set in the arctic ice, is substituted for the warmth of a tavern as Robert Walton (Benjamin Nicholas) seeks out determined crewmates for his soon-to-be departing voyage. Drowning his sorrows at the back of the tavern is Frankenstein, who is encouraged by Walton to recount the tale of how he lost everything he held dear over a stiff drink. Photo: Midnight Circle Productions With a cast of seven portraying both the Frankenstein family and their inner circle, the character list has been cut down to the essentials, and the books setting gets the same treatment - with all of the action now taking place in and around the family home in Geneva. The biggest change however is undoubtedly reworking the creature to no longer be an assortment of body parts and chemicals, but is instead a reanimated Caroline Frankenstein - mother to Victor, who now passes away shortly after his return from university to be married. While the limit of the show's cast size would be more than enough justification for allowing the roles of Caroline and the Creature to be portrayed by the same actor, we suspect it had more to do with them knowing they had someone within the company who would bring something unique to the role.. Nadia Lamin - who is the pieces stand-out performer, has the enviable job of portraying the creature. She brilliantly metamorphosises throughout the duration of the show from something that can only express itself through convulsions and screams of anguish into the voice of reason to Miles Blanch’s tormented Victor. Photo: Midnight Circle Productions A pivotal scene partway through the show where Victor successfully reanimates his dead mother's corpse highlights Lamin's physicality and range. Choreographed by Chris Evans, we witness Caroline's lifeless body - initially being held up by the rest of the cast like a marionette on strings, return to life. Collapsing onto the floor in shock, slowly coming to terms with this second chance at living, her violent screams as she writhes with pain in and amongst the audience are harrowing and affecting. The same fate befalls Harry Harding's Alfonso later in the show, which further cements that scenes of Victor playing God are amongst the show's most engaging. Photos: Roj Whitelock Elsewhere in the venue, there are small character moments on offer - early on in the show we witness a very much still-alive Caroline helping soon-to-be daughter-in-law Elizabeth (Niamh Handley-Vaughan) prepare to be reunited with Victor after his extended absence. Alfonso Frankenstein (Harry Harding) delivers a heartwarming speech about his love and admiration for his family, and the pairing of William Frankenstein (Pierce Mackenzie) and Henry Clerval (Michael McGarry) had a moment involving a plate of grapes that got good laughs from our audience. Photo: Midnight Circle Productions As with most immersive theatre, you're free to follow the actors as they split off into separate rooms around the venue. Often you've got to quickly decide who to follow as the cast transitions from one space to another, and in an intimate setting like The Crypt - which is made up of five rooms of various size, you unfortunately have to take your proximity to the nearest doorway into account. There was more than one occasion where we simply couldn't get into the space a scene was taking place in as we were last out the previous room, so had to settle for exploring elsewhere. The largest of the venue's rooms - which is the setting for all of the show's key scenes, just about held all 25 or so visitors, along with the cast. The show is designed in a way that means you can't miss these scenes, but even then we found ourselves very aware that we were potentially blocking either someone else's view or stood in front of a door that might open any second. Photo: Midnight Circle Productions If you're looking for an immersive experience in London this October, Frankenstein: An Immersive Show is a great choice - with a strong cast and interesting creative choices that reframes the original book, it's an experience that offers something different to the norm. We'll no doubt be hearing more from Midnight Circle Production in the near future as they no doubt still have plenty of classic novels left to adapt - regardless of what it may be, we'll be eagerly awaiting our next visit to the The Crypt. ★★★ ½ Frankenstein: An Immersive Show runs until Saturday 14th October. Tickets are priced at £27.80 and can be booked via eventbrite . Find out more about Midnight Circle Productions via their Instagram .

Midnight Circle Productions, the immersive theatre company that previously mounted Immersive Picture of Dorian Gray at Crypt (Bethnal Green) earlier this year, return for a two-week run of Frankenstein: An Immersive Show in October. Directed by Nicholas Benjamin, the adaptation of the 1818 Mary Shelley gothic novel will see the audience enter the memories of Victor Frankenstein against the backdrop of dingy pubs and creepy laboratories in Victorian London. The immersive show will take place at Crypt in Bethnal Green and will welcome visitors from 3rd October until 14th October. The show's official synopsis is below... Descend into the depths of the Crypt Tavern; a home of sailors, abandoned dreams and dark secrets. Amongst this rabble lurks Victor Frankenstein, a man with a past deeper and darker than you would ever guess. A story of loss, pain and one man's scientific folly. The question is, is he running from it or frantically pursuing it? The cast has been confirmed as follows... Victor Frankenstein will be played by Miles Blanch Caroline Frankenstein will be played by Nadia Lamin Elizabeth Lazenza will be played by Niamh-Handley-Vaughan Robert Walton will be played by Nicholas Benjamin Alphonse Frankenstein will be played by Harry Harding Henry Clerval will be played by Michael McGarry William Frankenstein will be played by Piers Mackenzie All photos by Roj Whitelock Speaking about the upcoming adaptation, director Nicholas Benjamin comments. Frankenstein has always struck me as a grossly misused text when it comes to the media of film. Say the name ‘Frankenstein’ and you’ll probably think of some crazed mad scientist screaming ‘It’s alive! It’s alive!’, or even worse a hulking figure with bolts coming out of its neck. To me ‘Frankenstein’ is a study of human grief and its potential repercussions, the actions of its titular character are inspired by his desire to overcome the mortal weakness of death. However, it’s through these actions that the real weaknesses of humankind are shown, anger, obsession, and denial. By once again giving the audience the choice on what aspect of the story to follow, I hope to give them the chance to view the actions of grieving humankind and conclude whether they are justified. Together let’s discover at what point a man creates a monster -- Frankenstein: An Immersive Show runs from Tuesday 3rd October to Saturday 14th October. Tickets are priced at £27.80 and can be booked via eventbrite . Find out more about Midnight Circle Productions via their Facebook page .

Immersive Rumours received complimentary tickets to this show and as such, are disclosing this information before  our review of BOUND. The producers have had no input in the below and all thoughts are our own. BOUND, the latest immersive theatre production from Amber Jarman-Crainey, delves into the numerous physical and emotional reactions people can have to grief. With nine storylines running concurrently across the five floors of Bargehouse on South Bank and nine performers to follow as they move around the space, the show encourages audiences to process and reflect upon their own experiences of grief and take a look at how it impacts people differently. The show came to be following the passing of Amber’s older brother in 2020 and has been created in collaboration with grief specialists to incorporate real-life experiences. For BOUND, the show takes over the entirety of Bargehouse, a former meatpacking warehouse that sits directly behind OXO Tower on South Bank. With exposed brick and walls that look like they're moments away from crumbling down, it's the kind of venue immersive creators must dream about. While some parts of the building remain intentionally untouched, others have been transformed by the creative efforts of Sara Holmes, Susie Carlino, and Lara Sanjar. The set design, which includes a wild meadow of floral plants, twisting willow structures, and various drapings across the venue's five floors, is more a collection of art installations than the kind of realistic, detailed sets you'd expect at something like a Punchdrunk show. The atmosphere is further enhanced by Anna Warren's soundscape, a mix of drones and hums that reverberate through the hallways, creating a foreboding experience that draws you deeper into the world as you explore it more. Throughout the show, anguished screams frequently echo through the corridors and staircases of Bargehouse, further underscoring the rawness of the emotions on display. Photo: Rachel Patrice Fallon A large focus has been put on creating storylines told through physical movement rather than dialogue. While they’re all engaging to watch, the most powerful moments in BOUND occur when the performers interact directly with one another, stepping out of their individual, isolated storylines. The standout scenes from our visit included Rosalia Panepinto and Julian Nicols' performances as part of the Rooted Love storyline and the intersection of Vinicius Salles' Shelter storyline with Madeline Napier's live cello performance on the top floor of Bargehouse.   Angela Harvey's portrayal of a daughter grieving her father's loss stands out as the most accessible storyline in the show. One of only a few storylines that incorporate dialogue more directly, her extended monologue detailing fond childhood memories and ruminations on how to continue onwards allows those who pick up this storyline mid-way through a clearer idea of the storylines themes. Later in the show, when the words give way to more physical expressions of grief - drowning her sorrow in alcohol, heckling other performers while staggering through the venue - we better understand their emotional journey than those told purely through physical movement, which is more abstract and open to interpretation. Photo: Rachel Patrice Fallon There are occasional moments in BOUND where the performers interact directly with the audience. In any immersive work, there's a thrill to these brief glimpses of connection, but it's amplified further in BOUND by the emotional distance between the characters, each isolated in their own grief, and the audience, who can largely do nothing but silently observe.   During our visit, we shared a moment with Lee Clayden's character as part of the Living Grief storyline, in which their character tries to navigate the world alone with early-onset dementia. Later, they recognised us, took us by the hand, and led us into another room to express their gratitude for our earlier kindness - a cathartic moment that has stayed with us long after. In an environment where the main characters rarely find relief from their pain, being able to offer help to someone in distress felt like a profound act of connection. Photo: Rachel Patrice Fallon Logistically, the show has several moments in which you might struggle to locate any of the performers as they continue to move around the massive venue. You can expect to be regularly running up and down several flights of stairs if you're dead set on following a specific character for an extended period, and the venue's numerous pathways can lead to you losing characters at a moment's notice as they round a corner and seemingly disappear completely. The tight staircases can also cause some bottlenecking at times. Photos: Rachel Patrice Fallon Fans of movement-focused immersive work will likely find a lot to admire in BOUND. It’s an impactful and thought-provoking show that invites audiences to reflect on their own experiences of grief and and offers a space to lighten the burden for those still carrying it. 8/10 BOUND runs at Bargehouse on South Bank from 25th August - 8th September. Tickets start at £11.55 for students and £15.87 for general admission. To book and find out more, visit coinstreet.org

Immersive Rumours received complimentary tickets to this experience and as such, are disclosing this information before  our review of Sherlock: The Official Live Game. The producers have had no input in the below and all thoughts are our own. Photo: Nic Crilly-Hargrave Few London escape rooms have garnered as much hype and anticipation as Sherlock: The Official Live Game did when it was first announced in June 2018. While a large part of this had to do with the country's collective love of the BBC series, with nearly 10 million people tuning into the show's final three episodes, escape room enthusiasts had even more reason to be excited... It was the follow-up to TimeRun. Running from April 2015 for three years in London Fields, TimeRun was widely regarded as the best escape room in London. Created and designed by Nick Moran (now best known for Phantom Peak) and Dean Rogers (who had previously helped launch The Crystal Maze Live Experience), it raised the bar for what escape rooms could be at the time and was praised for its lavish sets and theming, engaging story, and innovative puzzles. Naturally, the big question leading up to the launch of the TimeRun team's new project - then known as Sherlock: The Game Is Now - was whether it could live up to its predecessor. With a script penned by Steven Moffat, Mark Gattis, and Nick Moran, and original video/audio content from the cast of the BBC series, including Martin Freeman, Mark Gattis, Andrew Scott, Louise Brealey, and Benedict Cumberbatch, it was clear that Sherlock: The Official Live Game was aiming to be as close to a blockbuster as an escape room could get. Photo: Nic Crilly-Hargrave The overall experience of Sherlock: The Official Live Game has immersive theatre elements in the lead-up to its main escape room section, and draws visitors into the story immediately upon arriving at the venue. Tucked away at the back of Shepherd Bush's W12 Shopping Centre, the venue's exterior is designed to resemble an opticians office. There are walls lined with dozens of glasses, staff in white lab coats (all called Stamford), and posters advertising the businesses' services - it’s so convincing unsuspecting passersby may mistake it for a real store. To enter, visitors buzz an intercom and provide a coded message. Unlike most other escape rooms in London, which introduce visitors to the stories world verbally during a pre-experience briefing, Sherlock: The Official Live Game immerses them from the very start with this environment, signalling that this is an escape room that's gone above and beyond the norm. The story of Sherlock: The Official Live Game has guests take on the role of new recruits at The Network, a fictional organisation headed up by Mycroft Holmes. With Sherlock out of the country, they are drafted in to help with an investigation as part of an assessment before being assigned official roles within the organisation. After a health and safety briefing delivered in-character via a pre-recorded video by John Watson (Martin Freeman), guests leave the optician's and enter a recreation of 221B Baker Street - the home of Sherlock. They're invited to look around the flat at their leisure before disaster strikes, and Moriarty (Andrew Scott) delivers a message from beyond the grave. With Mycroft having been kidnapped, a call from Sherlock instructs guests to follow Moriarty's instructions while he devises a solution, kicking off the escape room portion of the experience. There’s some neat practical effects at use in this room, which again elevates the pre-show experience above the norm. Overall the extended pre-show, which also includes a photo opportunity within the flat, does a solid job of setting up the main storyline for the experience. Visitors understand the story and stakes of the escape room before stepping into the room, and seeing familiar characters appear on screen - speaking directly to the audience - is a thrill for fans of the BBC series, who will relish the chance to dive back into the world years after the show’s conclusion. Photo: Nic Crilly-Hargrave The game's first room, which is set inside a lab at St. Barts Hospital, offers players their best opportunity to 'become' Sherlock. A dead body lies in the centre of the room, covered by a sheet. Its face and body are largely obscured, and guests need to make a series of deductions about the person based on what little clues are available, including their occupation, marital status, and where their body was discovered. Other puzzles in this first room rely mainly on logical or lateral thinking, which matches the hospital setting. Subsequent rooms include the office of the currently missing Mycroft Holmes, which continues the need for lateral thinking and teamwork, and the Holborn Operating Theatre Museum, where the game reaches its climax. In this final room, the puzzles shift from mental to physical, requiring patience and dexterity, which can be challenging as the clock ticks down to its final moments. The difficulty of each room increases as groups progress, with the last room being far and away the toughest to complete. There’s also an added layer of tension for players as they enter the final room as there’s no clock or indication of how long they have left before their allotted hour is up anywhere in the experience. When it comes to the in-world audio and video content from the cast, Andrew Scott’s performance as Moriarty is the clear highlight. His intense portrayal of the series antagonist ramps up the urgency to solve each puzzle quickly, especially in the final room. Unfortunately, Benedict Cumberbatch's contribution is limited to audio only, which may disappoint fans expecting more from the experience's titular character. After saving the world and freeing Mycroft (if all the puzzles are completed in time..), guests are welcome to visit the venue's other main attraction, The Mind Palace bar. With an impressively large drinks menu and additional experiences on offer, including Afternoon Tea and The Poisoned Chalice—an immersive cocktail experience that sees guests solving a test set by Sebastian Moran, Moriarty’s right-hand man—it's a well-themed venue to debrief after completing the main experience. The Poisoned Chalice Cocktail Experience. Photo: Nic Crilly-Hargrave So does Sherlock: The Official Live Game manage to live up to TimeRun? It's a close one. It's certainly one of the best escape rooms we've done in London, and the high production values make it the city's must-try experience for enthusiasts and fans of the series. Compared to other escape rooms in London, it goes above and beyond with its extended pre-show and the addition of an on-site bar elevates it from a brisk 60-minute experience to something you could spend the better half of an afternoon experiencing. 7.5/10 Sherlock: The Official Live Game runs at Doyle's Opticians in Shepherds Bush daily. Tickets start at £44 per person, and can be booked via thegameisnow.com

Amber Jarman-Crainey has announced her latest immersive theatre production, BOUND, will be premiering on the 24th August 2024 at Bargehouse on South Bank. BOUND encourages people to process, explore, and reflect upon their grief through a multi-sensory experience. Photo: Rachel Patrice Fallon B O U N D gives you the opportunity to step into the heart of the story and discover your own pathway through the production, whilst immersing yourself in nine stories developed from real examples of grief and loss shared through movement, live music, theatre and art. Amber started to create BOUND as an outlet for her own grief after losing her older brother in 2020. Her interest in movement and performance has always focused on human behaviour and memory, which is reflected in the curation of BOUND through the set, storylines and score. She's also been working with a small team of specialists to build the work, including industry-leading performers, grief specialists, doctors, charities and artists. Photo: Rachel Patrice Fallon The aim is to create a space where the audience has the power to lead their own journey and view what they feel interested in or connected to. The show is spread over five floors of Bargehouse, which will be home to nine storylines told by eight physical theatre performers. The cast for BOUND includes Lucija Bozicevic, Rosalia Panepinto, Vinicius Salles, Dominic Coffey, Adrienne Ming, Angela Smith, Lee Clayden, and Julian Nichols. Photo: Rachel Patrice Fallon Each story has been developed from either the performer's experience or an interest in the concept. Movement has been inspired by physical and emotional reactions to grief, with the key storylines found in BOUND being Living Grief, Shelter, Gaslight, Rooted Love, Therapy, Mourning Meadow, Time, and Subconscious Mind. Each room within Bargehouse has been designed to give the audience the chance to engage with a tactile space. As the audience ventures through the building, they will find, for example, a wild meadow, twisted willow structures, draping, and installations. Filling the space will be an original score created by composer and musician Ann Warren. Amber and Ann have worked together on previous projects, including the award-winning short film 'Clamber.' The audience will move in and out of the sound until reaching the top floor, where the audience will be immersed in cello music played live by Madeline Napier. Photo: Rachel Patrice Fallon BOUND is gifting a limited number of free tickets to students who are 16+ and studying an area that connects to B O U N D and Licensed Therapists who are considering alternative ways to support clients in processing grief and loss. Amber Jarman-Crainey recently spoke to Katy Naylor at voidspace about the show. Click here to read that interview and find out more about the show. BOUND runs at Bargehouse, near Blackfriars station, from 25th August - 8th September. Tickets start at £11.55 for students and £15.87 for general admission. To book and find out more, visit coinstreet.org