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Image: Witness Charlie MacRae-Tod will take on the mantle of performing as Orestes in Witness’s UK debut production of Ritual at COLAB Tower this February. Ritual is an 8-hour-long immersive performance adapting the Greek tragedy The Oresteia, and MacRae-Tod has the epic challenge of performing for 8 hours straight in this retelling, as audiences enter and exit around him throughout the day. Charlie MacRae-Tod is an actor based in Devon and London, and trained at the Royal Central School of Speech and Drama on the MA Classical Acting course. He’s no stranger to performing in classical literature, having previously appeared as Demetrius in Midnight Circle's A Midsummer Nightmare, and in Netflix’s 2022 adaptation of Jane Austin’s Persuasion. Photo: Charlie MacRae-Tod With Lily Ockwell joining the Ritual team as choreographer, MacRae-Tod is in safe hands as he tackles this mammoth performance. Ockwell has worked with leading immersive company Punchdrunk on their productions of Sleep No More, The Drowned Man and The Burnt City. Ritual invites audiences into the depths of the Mycenaean palace as Orestes lies in wait, attempting to get the gods to speak to him once more before he carries out his revenge. Throughout this day-long installation, the audience will be able to roam and explore around Orestes across two fully designed rooms over the course of this 8-hour performance at COLAB Tower. Ritual's New York run (2021). Photos: Arin Sang-Urai Ritual runs at COLAB Tower near London Bridge on the 21st and 22nd February 2026. Tickets are free and can be booked via witnessimmersive.com

Image: Witness Next month, Witness will transfer their production of Ritual to London for a limited two-day run after a successful run in New York. Ritual is an odyssey in content and form, based on Aeschylus’s epic Greek tragedy, the Oresteia, it's an 8-hour-long installation anchored by a single performer. Ritual invites audiences to share the space on the 21st and 22nd of February at COLAB Tower in Central London. Photo: Witness Ritual invites audiences into the depths of the Mycenaean palace as Orestes lies in wait, attempting to get the gods to speak to him once again before he carries out his revenge. Throughout this day-long installation, the audience will be able to roam and explore around Orestes across two fully designed rooms over the course of this 8-hour performance at the COLAB Tower. Presented by Witness, Ritual is a transfer from New York, where it debuted in the East Village in October 2021. This is the UK premiere of Witness’s work, and it has been supported by Arts Council England. Photo: Arin Sang-Urai Writer Michael Bontatibus stated: We’re incredibly excited to take this ambitious production into London. Re-introducing this story to a new audience, and getting to tackle the mammoth task of an eight-hour show is incredibly invigorating. Director Charlotte Murray added: Ritual is a daring, massive undertaking, but we’re excited to take on the challenge, and are excited to invite audiences into the physical centre of the world we’ve created. Photo: Arin Sang-Urai The show's director, Charlotte Murray, is a director, deviser, and theatre maker. She is currently the Associate Director on Natalie Margolin's Off-Broadway play All Nighter, starring Kristine Froseth and Havana Rose Liu. Previous work with Witness includes directing Noirtown and Ritual; other directing credits include 12 Chairs at the O’Neill New Play Conference and Hartwell Church of God at Ars Nova. Ritual has been written by Michael Bontatibus , who is the Artistic Director of Witness. Past credits with Witness as a writer and producer include The Island (Archway Hospital), Ritual (Village Works), Last Days of the Tsars (Stimson-Green Mansion), Noirtown (Rave Theater Festival), Found Footage (Colonels Row) and The Visitation (Wyckoff House). Other theatrical work has been staged with The Flea, Joust Theatre Company, RADD Festival, Theatre Off Jackson Solo Performance Festival, and the Young Gotham Arts Series, among others. Ritual runs at COLAB Tower near London Bridge on the 21st and 22nd February 2026. Tickets are free and can be booked via witnessimmersive.com

Photo: Pexels A legendary story from the mythical world of Ancient Greece is being brought to life at an unusual venue in Nottingham next month. Apple of Discord is the latest immersive production from the pioneering and critically-acclaimed theatre company Chronic Insanity , who are based in the city. Artistic Director Joe Strickland aims to provide an experience that rivals the production values of London-based immersive shows from companies like Punchdrunk, but with affordable ticket prices and with local performers at the heart of the magic. Chronic Insanity is an award-winning theatre company and has been staging work in Nottingham since 2019, with a diverse portfolio that includes immersive theatre, hybridised digital and live performance art, a streaming platform for Fringe theatre, and more. They regularly take radical new writing to Edinburgh, tour nationally, and most recently have released a storytelling card game based on one of their most successful shows. Their 7-year track record has seen them produce innovative immersive experiences on a variety of scales, and they've previously worked with industry giants such as the BBC, BFI, and Nottingham Playhouse. Apple of Discord will take place in the Grade II-listed People’s Hall in the heart of Nottingham City Centre. This stunningly preserved, 18th-century townhouse has three floors, with an ornate central staircase, cellars and subterranean caves. The site has had many uses over the years, including a working men’s club, a textile training school, and a meeting place for the fraternal lodge - ‘The Antediluvian Order of the Buffalo’. Rich in history and dripping with character, it is an ideal location for an interactive production. Photo: Rachael Halaburda This new and dramatic experience depicting the Trojan War will take place over multiple rooms in the building, with a cabaret in the main hall, static exhibitions in other rooms, and live immersive and interactive performances to transport audiences along the way. Visitors can grab a drink, enjoy cabaret performances and watch scenes and stories unfold around them, or they can tackle quests and solve puzzles themselves, and even talk to the Ancient Greek characters. They will also be free to move between different levels of engagement at their own pace and tailor their own experience of the legendary story of Troy. Speaking on Apple of Discord, Joe Strickland says: For the audience, it’s not about seeing all of it necessarily. The point is to immerse yourself in a new world, and know that around every corner there’s going to be something interesting to do, to see, and take part in if you’d like to. Strickland has intentionally pitched Apple of Discord as an accessible and affordable alternative to the usually expensive world of immersive theatre. The industry has a reputation for eye-watering ticket prices, not to mention the additional costs of travel, food and accommodation for anyone outside London. By comparison, Apple of Discord will offer 3-hour tickets for £30 and 2-hour tickets for £20. With cheaper travel costs for people living close to Nottingham, and the wealth of food options in the city centre, the experience will be much more affordable than events in the capital. Strickland says: We are trying to create something that is often inaccessible financially and geographically to people in the East Midlands. Our mission is to widen participation in this exciting form of theatre. The people of this area deserve to experience this wonderful art form. There’s no question that ‘Apple of Discord’ will be the ‘must-see’ show in Nottingham this Spring. Apple of Discord runs at The People's Hall in Nottingham from 30th March to 5th April 2026. Tickets are priced at £30.00 for the three-hour experience and £20.00 for the reduced two-hour experience. To find out more and book tickets, visit universe.com

London's best open-world immersive experience returns for the latest chapter in its ongoing story, with 10 excellent new trails for guests to enjoy this summer. Photo: Alistair Veryard Phantom Peak's latest season offering, Starlit Summer, continues the show's streak of delivering an exceptional open-world immersive experience for guests. The show is fast approaching its second birthday, and this new season crosses the milestone of over 100 seasonal trails since first opening in August 2022. While it's always been in a state of growth and change with regular updates every few months, the show has truly never been better than it is right now, and it's easily the most enjoyable immersive experience on offer in London today. So what's changed since Spring At The Peak? Firstly, the competitive spirit in Phantom Peak is at an all-time high with the introduction of the Cabin Games. Upon entering, tourists are divided into one of three teams (Abs Assemblage, Team Terrence, and Klacky Kabin) and compete to acquire as many tokens as possible. The official process for earning tokens outside of a series of physical games (including a bean bag toss, egg and spoon relay, jenga, and Phantom Peak staple Platyhooks ) is a little vague, with the townsfolk handing them out at their own discretion for anything from making a funny joke in their presence to simply sweet-talking your way into getting a handful of them. During the show's Closing Ceremony, the scores are totted up, and a delegate from the top two teams then face off in a general knowledge quiz about this season's trails to decide the overall winner. Photo: Alistair Veryard Outside of the Cabin Games, Phantom Peak has yet another batch of excellent new trails for tourists to complete. Given that there have now been over 100 trails on offer, it's a testament to the skill of its writing team that they've continued to find new and interesting ways to keep the trails fresh and exciting. Every corner of the venue's 30,000 sq ft space has been mined to propel the stories forward, with clues often hiding in the most unsuspecting places. Phantom Peak is playing the long game when it comes to the show's overarching story, with chunks of its numerous narrative threads being packaged up into bite-sized chunks season after season. Starlit Summer sees the continuation of Mayor Pocket's ongoing diplomatic failings with the fictional towns over the Ridge in Pocket Dial, the return of Perigate's meddling parents (last seen disguised as a pair of marbles in 2023's Wintermas season) in Skytanic, and most notably, Failure To Launch continues the story from the Closing Ceremony of Spring At The Peak, where one of the townsfolk was selected to become Phantom Peak's first Jonanaught and head off into space. Photo: Alistair Veryard Phantom Peak also continues its long-running trend of parodying pop culture, with Whiskers In The Dark's Rocket Raccoon pastiche being a particular highlight. While it's not the first time immersive theatre fans have been able to interact with anthropomorphised  raccoons (see Secret Cinema's Guardians of the Galaxy experience in 2023), it demonstrates Phantom Peak's commitment to prioritising engaging and funny storylines that are accessible to everyone over anything else. Elsewhere around town, Klacky, an evil version of Microsoft Word's paperclip assistant Clippy, continues to have quite the impact, being responsible for several dozen murders across all 10 trails. The variety of storylines on offer has never been better, and teases for what's yet to come in Phantom Peak leave you excitedly awaiting their upcoming Halloween season, despite doors only just having opened for Starlit Summer. Photo: Alistair Veryard One element of the Phantom Peak experience that sets it apart from nearly every other immersive offering in London is the welcoming and positive atmosphere that reverberates around every corner of the town. From townsfolk recognising guests from previous visits and greeting them like old friends, to the openness that the latest additions to the cast have for everyone that approaches them, Phantom Peak is a town that feels like an idyllic version of real life, despite the occasional murder... According to Phantom Peak's Creative Director Nick Moran , their goal with the show has always been "building a world that people can feel comfortable in, feel excited about, and somewhere they can feel at home", something they've achieved to great success. Photo: Alistair Veryard There's ample time to check out this latest season of Phantom Peak before the town transforms for its upcoming Halloween and Christmas seasons, with Starlit Summer running until 15th September. Suitable for all ages, it's an ideal family activity for the summer holidays and just as much fun for grown-ups looking for a date night or group outing. You'd be hard-pressed to find another experience in London that can match the level of enjoyment Phantom Peak offers guests. It's without a doubt the best open-world immersive experience in the UK right now, and seemingly can only be topped by itself season after season. Photos: Alistair Veryard ★★★★★ Phantom Peak's Starlit Summer runs until 15th September 2024 in Canada Water. To find out more about the show and to book tickets, visit phantompeak.com We recently spoke to Phantom Peak's Creative Director Nick Moran about the past, present and future of Phantom Peak. Read our interview here .

Image: cirqueSaw For immersive fans, one of the few shining lights to emerge during the lockdowns and closures of 2020 was the rise of digital, at-home experiences. In the UK, recognisable names from the world of immersive, including Secret Cinema and Swamp Motel (nowadays they've dropped the 'Motel' and just go by 'SWAMP'), launched Zoom-based experiences that both thrilled and entertained, and for a while, the requirement to live in roughly the same geographical location as creators to experience their work faded away. In the years since, the quantity of digital-focused interactive experiences on offer has waned, but a select few companies have proudly carried on creating online-only work. cirqueSaw, which is made up of Nathan Leigh and Nicola Orabona, first launched in 2021 and has produced several notable remote theatre productions, including Void Main and POV: You Are An AI Achieving Consciousness. As part of 2026's From Home Fest , and fresh off the back of winning an IndieCade award , their rat-focused production labRats returns following previous work-in-progress performances across 2024 and 2025. In this browser-based remote performance, audience members take on the role of numbered laboratory rats and complete a series of cognitive tests to both earn treats and avoid 'the zappies'. Following the rats' discovery of a key, participants escape from the confines of their cages and are set loose to explore the wider facility. Image: cirqueSaw Throughout labRats, lab technician Mallory (played via audio by Orabona) issues instructions, guidance and warnings to the pack, while Leigh acts as stage manager, overseeing the show's interface. The entirety of labRats runs off a custom-built platform that's used across all of cirqueSaw's shows, and allows the audience to interact with the show's world and communicate with each other via an in-built text channel. Freshly equipped with neural implants that allow each rat to understand human voices and communicate with each other, the opening 15-minutes of labRats involves each participant responding to simple questions around colours and shapes to calibrate the system. With Mallory's instructions telling them to answer the same as their group (each rat is assigned one of four colours at the beginning of the experience), some hastily put-together plans are made by each group through the in-show text chat in the hope of receiving a treat. While there's an element of competition, with each group pitted against each other in an attempt to earn treats, there's little variety or challenge to these tasks once each group has established their game plan. Later in the experience, the rats find themselves freed and able to explore the facility, which comes by way of an ASCII-inspired map. There's an impressive number of rooms to inspect, each with wildly different features inside. From 2D arcade-style minigames complete with scoreboards and puzzles, to text-based adventure games and pre-recorded pastiches of silent films, it's clear that every corner of labRat's laboratory has been designed to be as distinct and unique from one another, and that for better or worse, there's far more content than any one audience member can experience in one session. Image: cirqueSaw Whether or not the freedom offered to audience members' rats in the show's second half lands for you is going to depend on how comfortable you are with directionless exploration. By design, there are no explicit 'objectives' to complete, nothing directing you towards a set end goal, and very little to reassure you that the path you're on will lead to a proper conclusion. In simple terms, labRats lets you do whatever you want, and doesn't hold your hand as you do it. It's up to you and your fellow rats to create your own experience. Those happy to explore the facility without a set goal in mind will find that the breadth of things to do can more than occupy their time. During our playthrough, we only scratched the surface of everything on offer, but digging through some cupboards unlocked some traumatic memories that our rat had tried to repress, the tunnels and drains below the facility provided a seemingly endless labyrinth that had us well and truly lost, and we uncovered a sideplot involving Nanbots that would require a whole other playthrough to get to the bottom of. For many, their go-to plan will be trying to escape the facility. labRats is more than happy to accommodate such desires, but coordination and teamwork between the rats will be required. During our session, roughly 18 other rats were running amok around the facility alongside us, making any progress towards that goal made by any one individual a hard thing to keep track of. At times, the free-roaming portion of labRats felt like unorganised chaos, to the point where several participants commented in the chat that they were unsure what they were supposed to be doing, and any information shared by others was quickly lost in the fast-moving in-world chat. Image: cirqueSaw With a surprising amount of narrative depth, endless pathways available for exploration, and the freedom to forge your own story, labRats offers up an experience that's happy to bend around your own will. For many, the amount of freedom on offer may leave them wishing for a tighter, more focused narrative, but that looseness feels like a deliberate choice rather than a shortcoming. It's an experience that's more interested in giving you the tools to create your own story, rather than forcing you down a predetermined path, and responds to your choices, regardless of what they are. ★★★ ½ labRats runs until 7th February 2026. Tickets are free of charge, with donations encouraged. To find out more and book tickets, visit cirquesaw.com

Set to run at The Drayton Arms Theatre on Old Brompton Road from 16th to 22nd February 2026, The London Lovecraft Festival returns for its sixth edition and this year will feature five interactive shows. Opening the festival on 16th February is The Cat’s Court Case Of Ulthar , one of two new pieces of work from Leo Doulton (Associate Creative Director of The Key of Dreams and Creator of The Uncanny Things Trilogy ), who returns to The London Lovecraft Festival after last year's sold-out The Estate Sale of Randolf Carter . Doulton's second show, Iä Azathoth: In Pursuit Of Oblivion , will take place on 17th February. Speaking on Leo's involvement at the festival, and the two new pieces of work being presented this year, London Lovecraft Festival Associate Director, TL Wiswell, commented: I became interested in Leo’s work after seeing his Uncanny Things shows, in which people engage with eldritch beings in a ritual way, which led to his being commissioned to create a new show for the London Lovecraft Festival last year. This time he proposed two ideas, one comic, one grim. I felt both provided ways for fans of Lovecraft’s work to do more world building activities - or world destroying - and I was unable to say no to either of them. His works can feel like games but to me at their core they are about making the reality we live in more exciting.  Following Iä Azathoth: In Pursuit Of Oblivion on the 17th February is You are the Sacrifice by Hakan Akgül (who presented their interactive monologue piece, If You Think I Should Make Better Life Choices, Turn to Page 42, at Voidspace Live 2025) & Joe Stepney. TL Wiswell comments: [Performer/writer] Hakan Akgül was great at Voidspace Live 2025, really drawing the audience in and making our decisions seem critical to the storytelling process. When he and Joe Stepney proposed an ancient Mesopotamian human sacrifice as a theme for a show, I was all ears. I can’t wait to see what they come up with. Later that week is Riley Gene's A Song for the Vanished , which riffs on Lovecraft's short story 'The Music of Erich Zann'. TL Wiswell said the following about how the show came to be part of the festival: I was working with Jack Aldisert (of Deadweight Theatre) on a panel, and asked if he knew anyone who’d like to make something fresh for a one-night slot at the festival. Zann is one of my favourites, and the team he introduced to me is cooking up something I know people will enjoy. And finally, rounding off the festival's interactive line-up and the festival itself, is The Dunwich Horror: An Opera from Vulcanello Productions. A reimagining of Lovecraft's short story of the same name, the show is an atmospheric experience set in near-darkness. I’m trying to keep the plot twists a bit secret, but the idea is that people will experience the fear and isolation of being in the town of Dunwich while the horror is happening, and yes there will be opportunities to involved, but I’m not saying what. And although I’m calling it an opera, nothing is going to be in an opera style; it’s more of a soundscape and storytelling with music. It’s going to be an hour in the dark, a bit like a radio play but more of an emotional experience. No ultradimensional being will be harmed during this show - well, except for Wilbur Whateley, but he had it coming. More information on The London Lovecraft Festival's interactive line-up is below.. The Cat’s Court Case Of Ulthar by Leo Doulton “Honourable members of this court… and the prosecution. Apparently, I stole a dangerous book. The Necronomicon, did you say? My my, you’d have to be clever to steal that. And apparently, I then left it in a student bar for any idiot to find. Oh, someone did? I’m devastated, I’m sure. But this trial is absurd. As the defence will tell you, I am just a normal housecat - though an unusually handsome and cunning one - and all I want is to drink milk and walk free. Miaow.” We are recruiting for the trial of an (allegedly magic) cat. You will serve variously as magistrates, jurors, prosecution, defence, and the press, interviewing, debating, and bribing your way to victory - or even justice. Join this absurd interactive comedy court case, featuring Leo Doulton (as an arrogant cat), you (as the court and its officials), and a truly surprising amount of milk (as milk). 📍 Drayton Arms Theatre 💰 From £18.00 🕒 16th February 2026 🎟️ Book via thedraytonarmstheatre.co.uk Iä Azathoth: In Pursuit Of Oblivion by Leo Doulton We all know the world is broken. Worse than broken: irreparable. Infested. We need oblivion. You are coming here tonight to summon Azathoth, to burn this world with the force of a thousand suns. Because none of it matters. Tonight, we will summon him. Some of us will map the things we must destroy. Some will debate the ancient texts on how to end it. And all will shun those who abandon the cause. Join me, as we guide this world into the fire. Enter a reflective interactive ritual about what matters, and what doesn’t. For everyone who’s failed to find meaning. Join us for the first collaboration between creator Leo Doulton (Creator, The Uncanny Things Trilogy; Associate Creative Director/Writer, The Key of Dreams; winner of the London Lovecraft Festival New Writing Prize 2025), creative consultant Nicole Jacobus (Production Manager, Bridge Command and Beggars49), and you. 📍 Drayton Arms Theatre 💰 From £16.00 🕒 17th February 2026 🎟️ Book via thedraytonarmstheatre.co.uk You are the Sacrifice by Hakan Akgül & Joe Stepney The omens are dire. Pestilence has struck these lands. You have been summoned to Court where, according to tradition, a new king will be chosen who will rule for the next 100 days. Will it be you? And, if so, are you willing to pay the price? You are the Lamb is a new interactive play which asks the audience how far they would be willing to go and what they would sacrifice to save themselves or each other. Winner of the 2026 London Lovecraft New Writing Award 📍 Drayton Arms Theatre 💰 From £18.00 🕒 17th - 18th February 2026 🎟️ Book via thedraytonarmstheatre.co.uk A Song For The Vanished by Riley Gene An online post prompts an attempt to enter a mysterious dimension, confront enigmatic entities, and resolve the fundamental disharmony of human souls in this interactive ritual of desperate determination.   📍 Drayton Arms Theatre 💰 From £18.00 🕒 19th February 2026 🎟️ Book via thedraytonarmstheatre.co.uk The Dunwich Horror: An Opera by Vulcanello Productions A rural town. A dark summoning. A hunger that destroys all. Can you survive the Dunwich Horror? Performed in near total darkness, The Dunwich Horror: An Opera  is a soundscape of life in an isolated village being terrorised by a force it doesn't understand. With flute, theremin, and the human voice, Jen Hazel's original score will bring you into HP Lovecraft's tale with a strong seasoning of American vernacular music of the 1920s. Storyteller Laura Sampson and experimental musician Sam Enthoven return from the Dreamlands shadow puppet shows alongside TL Wiswell. Do you dare enter a world of party line phones, dusty grimoires, and extradimensional beings with a thirst for blood? In the end, your voice may be needed to set Dunwich free. 📍 Drayton Arms Theatre 💰 From £20.00 🕒 22nd February 2026 🎟️ Book via thedraytonarmstheatre.co.uk The London Lovecraft Festival runs at The Drayton Arms Theatre near Gloucester Road and South Kensington between 16th and 22nd February 2026. For more information and to book tickets, visit londonlovecraft.com

Photo: Alistair Veryard Phantom Peak , the UK's leading open-world immersive experience, has announced that it will open a new venue in London’s Westfield Stratford City in Summer 2026.   First launched in 2022 at their Canada Water venue, Phantom Peak has since welcomed over 160,000 visitors with a high 25% repeat rate and received critical acclaim from press outlets and overwhelmingly positive guest reviews. In recent years, Phantom Peak has been named the best Immersive Experience globally by blooloop and won the prestigious TripAdvisor Traveller’s Choice Award in 2024 and 2025 consecutively. The experience has also featured in Immersive Rumour's Best Shows of 2024 and 2025 lists. Phantom Peak offers an immersive experience that allows guests of all ages to lose themselves in a fully immersive town filled with interesting characters, interactive quests to complete, and carnival & arcade games to enjoy. The whole experience is tied together with an ongoing story that evolves and moves forward with a change of season every 3-4 months. The ongoing story of Phantom Peak, which began with the show's first season, will continue at the new Westfield Stratford City venue, with the experience expanding to hold more guests with a multi-level, accessible venue with three distinct areas for guests to explore: Old Town, the Town Square & Lakeside. Image: Phantom Peak/Tandem Set and Scenery Each district includes characters to meet, unique technology to interact with and a distinct world to explore. Old Town is the underground industrial mining town - the heart of Phantom Peak’s industry. The Town Square is a more modern area with impressive, multi-floored buildings, including a Town Hall and the in-world bar, the Thirsty Frontier Saloon. Lakeside is, as the name suggests, set around an indoor lake. At its centre will lie The Watermill with its iconic water wheel. Image: Phantom Peak/Tandem Set and Scenery Alongside the upgrades to the physical set of Phantom Peak, the new venue will bring technological upgrades to enhance the magic & storytelling of the immersive experience. The custom-made ‘wingman’ units, designed by Tandem Set & Scenery, will power each character space. These units allow characters to trigger lighting, sound, and physical effects within a local area - creating magic & wonderment in the moment, for a small number of guests at a time. Image: Phantom Peak/Tandem Set and Scenery The entry to the experience will also be upgraded with a new three-tier VIP experience option. These premium options will see guests take a seat on a train carriage for a unique, personalised entry to the town. For others, they will descend the stairs into the Old Town, where the gates will open, and they’ll be free to roam the vast space. Image: Phantom Peak/Tandem Set and Scenery Alongside the core Phantom Peak experience, a fully themed bar will be open 7 days a week. This will allow guests to take a seat and enjoy speciality cocktails and great food, or wander down into the town and explore a unique area with arcade and carnival games.  Image: Phantom Peak/Tandem Set and Scenery The expansion into Westfield Stratford has been made possible after an investment into The League of Adventure, the group behind Phantom Peak, by a leading European private equity investor. This investment brings together LoA’s three companies - Phantom Peak, Tandem Set & Scenery, and Spectre & Vox - under one group as a new live experience creative studio powerhouse.  Media and entrepreneurial veteran Wil Harris has been appointed as Group Managing Director to oversee its expansion.   Co-Founder and Creative Director Nick Moran said: We’re thrilled to be bringing Phantom Peak to the iconic Westfield Stratford City in Summer 2026. After more than three exceptional years of overwhelming public support and enthusiasm, it feels like the perfect moment to introduce the Phantom Peak experience to such a prestigious destination. As a completely original British IP in the immersive and competitive socialising space, Phantom Peak has been built around bold world-building, shared discovery, and unforgettable moments. This next chapter marks an exciting evolution of the brand - and we can’t wait to welcome even more guests into the town and create an experience that blows them away, time and time again. Photo: Alistair Veryard Wil Harris, Group Managing Director of The League of Adventure, said:  I'm delighted to be joining League of Adventure at such an exciting time for Phantom Peak.  Partnering with our new friends at SenSee will allow us to move forward quickly, not just with our new London venue, but with multiple new projects around the world and in the digital space.  In a sector where so much of the immersive entertainment produced is based on legacy IP, we’re excited for the potential to develop this original IP into an exciting and expanding world.   Constantin Weismann, Director of Leasing, Northern Europe at Unibail-Rodamco-Westfield, said: Phantom Peak is exactly the kind of experience that reflects how consumer behaviour is changing. Our most recent How We Shop research shows that nearly half of UK consumers are actively seeking more immersive and entertainment-led experiences when they visit physical destinations, with that expectation even higher among younger audiences. Bringing Phantom Peak to Westfield Stratford City strengthens our entertainment offer and highlights the growing role of experience in driving footfall, dwell time and long-term relevance for retail destinations. Photo: Alistair Veryard Simon McCaugherty, Director of Experience Economy at London & Partners, the capital’s growth agency, said: We’re delighted to welcome Phantom Peak as our newest partner. It’s a standout example of a London-grown immersive experience, built in Canada Water, loved by audiences, and now scaling boldly into Westfield Stratford City. Phantom Peak signals the strength of the experience economy, showing how original ideas can drive regeneration, attract investment, and reinforce London’s position as the global city for unique immersive experiences. Immersive Rumours sat down with Phantom Peak's Co-Founder and Creative Director, Nick Moran, ahead of the announcement to discuss the final season of Phantom Peak at their original Canada Water site, and their plans for the new venue in Westfield Stratford City. You can read our interview with Nick here: Phantom Peak's new Stratford venue will open in Summer 2026. For more information and to sign up for future updates, visit phantompeak.com/stratford

This revival of Dante or Die's 2013 site-specific piece set within a working hotel is a potent mix of intimacy and drama that you'll want to relive again and again. Photo: Greta Zabulyte Anyone who's ever been married or part of a bridal party can tell you that despite everyone's best efforts, weddings are often messy affairs. Emotions run high, there's a huge amount of pressure on those involved, and even the most angelic couples can't insulate themselves from the potential drama that bubbles under the surface of what's meant to be both the biggest and happiest day of their lives. In Dante or Die's I Do, which first debuted in 2013 and returns now as part of the company's 20th anniversary year, the inherent drama and chaos of a wedding day is dialled up to an extreme and offers audiences the chance to voyeuristically look on at the unfolding chaos surrounding the soon-to-be-wedded Georgina (Carla Langley) and Tunde (Dauda Ladejobi). Directed by Daphna Attias and presented in London as part of Barbican's Scene Change season, this site-specific production takes over six rooms and the adjoining corridor of the Malmaison Hotel near Farringdon until 8th February, before transferring to Malmaison's in Reading and Manchester next month. Photo: Greta Zabulyte Upon arriving at the hotel, audience members are each given a coloured buttonhole and assigned a group, which they remain with throughout the show. Each group of up to 12 rotates through all six hotel rooms over the course of 90 minutes (though the order in which they do so differs for each group) and watches the same ten-minute period unfold from a different perspective each time. In between each room change, the audience all gather in the hallway as the floor’s cleaner (Rowena La Poer Trench) winds back the clock, wiping down surfaces and tidying in reverse. For the best man, Joe (Manish Gandhi), the final run-throughs of their speech couldn't be going much worse. At the eleventh hour, Tunde, who unbeknownst to everyone else is experiencing a severe case of cold feet, has given him a list of anecdotes from their shared past that can't be included, and with very little left beside a handful of empty platitudes, Joe quickly begins to spiral as nerves get the better of them. Equally nervous is bridesmaid Lizzy (Alice Brittain), who's impatiently (and secretly) waiting out the two-minute timer after doing a pregnancy test amidst last-minute preparations with the bride, and Georgina's father, David (Jonathan McGuinness), whose attendance is in doubt as they weigh up bailing on the day altogether and getting on the first flight back to Menorca. Elsewhere in the hotel, Georgina's grandparents, Eileen and Gordon (played beautifully by Fiona Watson and Geof Atwell), both find themselves increasingly frustrated by Gordon's physical limitations; mother of the bride Helen (Johanne Murdock) has a surprise knock at the door from an old flame; and best friend-cum-bridesmaid Abigail (Tessie Orange-Turner) grapples with the fallout of opening up her marriage. Photo: Greta Zabulyte While none of the characters or individual plotlines found within Chlöe Moss' script would feel out of place in an episode of EastEnders or Coronation Street, the real magic of I Do lies in how tightly all of its characters' stories are interwoven together. Members of the wedding party will enter and exit each other's rooms without a moment's notice, inserting themselves into other people's storylines, and regular texts/phone calls/voice notes between guests offer up only one side of each conversation. Regardless of whether the payoff to what a character said or got up to outside of any given room takes 10 minutes or an hour to come around, there's a real joy to seeing how every piece of I Do's carefully constructed narrative slots together as each subsequent room is experienced and the full picture comes into view. With the audience’s presence never acknowledged by any of the wedding guests, they’re given free rein to position themselves wherever they’d like in each room. For the most part, this results in audience members relegating themselves to the corners, perching on windowsills and leaning against wardrobes, but they're encouraged to sit or stand anywhere there's available space, even if it seems to be encroaching on where the cast will soon be. Photo: Greta Zabulyte The audience can also freely rummage around each room, opening drawers and picking up items from desks and bedside tables to learn more about the show’s characters and their relationships to one another. Those feeling extra nosy can also take a look at characters' phone screens as the wedding party anxiously texts and voice notes each other and read any of the numerous handwritten notes that change hands around the hotel, which offer further context to their inner thoughts and feelings. The concept of an audience silently watching on as scenes unfold across multiple spaces certainly isn't a new one for immersive theatre fans, but the intimacy on offer in I Do proves to be far more potent than in any of Punchdrunk's masked offerings, in large part due to just how closely the performers and audience are to each other for sustained periods. In quiet moments, you can hear a pin drop, and every one of the bridal party's confessions, whether screamed into a pillow or whispered under their breath, can be heard by everyone present. Photo: Greta Zabulyte When I Do first debuted back in 2013, it marked a turning point for Dante or Die, as they began to shift away from movement-based work into narrative-driven theatre. Some 13 years on, that decision is still bearing fruit, and the work they've produced since has continued to push the boundaries of site-specific theatre. While we eagerly await their next project , which is due to launch in the second half of 2026, this rare chance to revisit one of the company's best-loved pieces is an opportunity worth taking full advantage of. ★★★★ Dante or Die's I Do runs at London Malmaison near Barbican station until 8th February 2026. Tickets are priced from £35.00. To find out more and book tickets, visit barbican.org.uk .

Punchdrunk Enrichment's family-focused festive offering is a stark reminder of the power that sharing stories with one another holds. Photo: Nina Photography Anyone who's engaged with London's immersive theatre scene over the last decade will know that often, shows pop up in unexpected places. From railway arches and church basements to disused fire stations and factories, it's typical to find yourself venturing to corners of the city you had no idea existed in pursuit of new experiences. A stone's throw from Wembley Stadium, in the middle of a nondescript industrial estate, sits one such space - a former car garage - that's home to a theatre company born out of the world's best-known immersive creators, Punchdrunk. Founded in 2008 by Peter Higgin, Punchdrunk Enrichment was established to bring the practices and methods used by Punchdrunk to families, schools, and communities through public performances and workshops. Past productions from the charity, which now operates as a separate entity from the Woolwich-based immersive juggernaut, include The Lost Lending Library and Enitan's Game, which ran at their Wembley Park venue throughout Summer 2024. Their latest production, Fireside Tales, written and directed by Steve McCourt (the charity’s incoming Artistic Director), is aimed at children aged 7-11 and inspired by the age-old practice of people getting together to exchange stories as the nights begin to draw in. The hour-long show, which features big-hearted performances, stunning set design and plenty of opportunities for younger guests to get involved, is a love letter to the power of storytelling, our imaginations, and the importance of community. It's also utterly magical for children and parents alike. Photo: Nina Photography With the show beginning on the street outside the Punchdrunk Enrichment Store, audiences first meet an apologetic but nonetheless welcoming Ali (Amari Harris), who emerges from the store's front door with a bucket and mop in hand. A recent delivery has flooded the store, and he's only just got the last of the water out moments before a brave, young audience member knocked on the door. After being ushered inside, guests are introduced to Cosima (Rebecca Ella Clark), the store's second custodian, who works alongside Ali to catalogue and archive every story the store takes delivery of into one of four elemental categories. While air, earth and water stories arrive at regular intervals, accompanied by gusts of wind and the occasional leak, the volatile and generational fire stories are far more elusive. As Cosima and Ali tell the audience more about some of the stories they've recently received, placing large leather-bound books on the room's central table, younger members of the audience are gently invited to contribute and become part of the story. Cosima and Ali speak to them one-on-one, prompt them to answer a ringing rotary phone (which is unknowingly held up upside down, to the delight of the adults in the room), and, amongst other interactions, encourage a child who was given a blue feather earlier in the show to recount their story about space peacocks for the rest of the group. These interactions all reinforce a key idea laid out early on by Ali - that everyone has a story to tell and a right to be heard. Soon, word of an unexpected story delivery comes through, and it’s all hands on deck to receive the store’s first fire story. Some excellent lighting design from Sarah Readman depicts its arrival, first igniting a candle overhead before swiftly jumping around the room from light source to light source in quick succession. Photo: Nina Photography As anyone familiar with Punchdrunk Enrichment's sister company will expect, the set design (courtesy of designer Mydd Pharo) and attention to detail throughout Punchdrunk Enrichment's Store is exceptional. Floor-to-ceiling shelves are packed to the brim with trinkets and household items, all accompanied by handwritten place cards indicating their date of arrival, place of origin and history. Huge piles of papers, cassettes and newspapers are scattered throughout the space. In the Store’s entrance hallway, there's a map of the area covered in criss-crossing pieces of string, trying to track the movement of Haggins, an adventurous local cat. Fittingly for a space that deals in story-building materials, every item in the space seemingly has a tale to tell. This detailed design continues as the audience moves through to the show's second space - an overgrown yard behind the store, complete with a makeshift wooden storage hut, first-floor terraced flat windows overlooking the space and an abandoned car surrounded by foliage and discarded tools. It's in this space, with the audience all resting on tree stumps and benches surrounding a central fire pit, that they collectively try to tempt the fire story down from an overhanging lamp. Of course, the best way to put a nervous story at ease is to share stories of our own. Ali recounts a childhood memory of scoring the winning goal in a high-stakes five-a-side game to the soundtrack of cheers and boos coming from Wembley Stadium. Cosima recalls how, as a child, she hurt herself trying to stoke a fire and later lied about how she injured herself. While it's no doubt a cautionary tale, speaking to the danger of untruthfulness and how lies can quickly spread, it's told with such care and vulnerability that it never feels preachy. Later in the show, the audience gets a chance to contribute their own stories, being given a piece of paper and charcoal to sketch out what the idea of 'home' means to them and encouraged to share it with those sitting close to them. While it's a small and personal moment of contemplation and connection for the audience, within the wider context of the show, it carries a surprising amount of weight. Photo: Nina Photography Adults without children who are keen to try and scratch that Punchdrunk itch without having to hide from guards in a dark corner of the company's Woolwich home as part of LANDER 23 can attend one of several 'grown-ups only' sessions on select dates across December and January. The content of the show remains the same for these performances, but they include a Q&A with some of the show's creative team and a post-show drink as part of the experience. With a message that'll stay with audiences, beautifully detailed sets and generous performances from its two-strong cast, Fireside Tales is a wonderfully realised piece of immersive theatre that's been created with the utmost care. Atmospheric, reflective and magical, it's also a poignant reminder that giving each other the space to share our stories can turn that spark inside all of us into a flame, if we continue to tend to it. ★★★★ Fireside Tales run at Punchdrunk Enrichment Stores in Wembley Park until 4th January 2026. Tickets to all-ages shows are priced from £15, and can be booked via punchdrunkenrichment.org

I Do (2013) Photo: Ludovic des Cognets Later this month, site-specific theatre company Dante or Die will begin a UK tour of I Do , their acclaimed production set across six rooms of a working hotel. Split into small groups, audiences move between rooms, uncovering fragments of a tangled family story as they become voyeurs to a series of intimate, overlapping stories; from old flames and hidden pregnancy tests, to a best man’s speech collapsing under pressure, every glance, touch, and whispered secret counts. We recently caught up with Daphna Attias and Terry O'Donovan, Dante or Die's Co-Artistic Directors, to discuss the return of I Do, their approach to creating site-specific work, and what the rest of 2026 has in store for the company. IR: Hi Daphna and Terry. Thanks for speaking with us today! To kick things off, do you mind telling us a bit about Dante or Die’s approach to making work? Daphna Attias:  I don't feel like we have a set methodology. I know the themes that we're interested in, and I know that sites excite us, but we don't have a set way of working, and they can take a lot of different forms. Sometimes they're not even shows, they’re installations or video podcasts or interactive films. We either start with a site or space, which could be a café, a self-storage building or a hotel room, or we start with a topic that interests us, then we take it apart and put it together in a different shape. Usually, we match the site and the idea. It can also start with an article we read, or with a song that we hear, or with a question that we have about life. The starting point can always be different, but we interrogate questions around it, research around it, experiment with different spaces and where that topic, issue or question lives. In the case of I Do, it was relationships and weddings. When we created this show 13 years ago, we asked ourselves, ‘Why do people get married?’ It was very personal to us at the time, and we thought about where we could have lots of different types of relationships in a microcosm of exploration. We chose those really tense 10 minutes before a wedding, and we placed it in a hotel where we could meet people in a really intimate, really close space. Terry O'Donovan:  I don't know if it's a methodology, but one thing we always put at the centre of our work is the human within a space or story. It's very much looking at the human existence within something generic like a hotel. Every room that is occupied has a story and emotion behind it all. It's the same with our screen work, it's anti-Black Mirror in a way. We've gone ‘Where’s the emotion and love within a phone screen?’ How does it affect us emotionally and psychologically? That's one of the things that connects all of our work. Daphna Attias:  Our work for screen is very much us looking at the screen as a site, and our phones as a place we go to. For years, we made shows in real working places, but realised at some point that people's real working places became virtual. It encouraged us to examine those as our sites of work, but it feels like the same process. User Not Found (2018) Photo: Dante or Die IR: When you’ve got a physical site for your work, it’s often in real-world spaces. I Do takes place inside a working hotel, and as you said, Daphna, you’ve previously created work set in operating self-storage units, cafes and leisure centres. What is it about these spaces that’s so appealing, over building a set like a lot of other creators do? Terry O'Donovan:  I think that proximity to the actual space and the performers that you encounter within them has a little bit of a trick to it, because you go ‘Is this part of it? Is it not part of it?’ It’s reframing a space that often people might overlook as somewhere that can be filled with story, emotion, connection and magic. If you're in people's local leisure centre, for example, they might go swimming there in the morning, or do aqua aerobics there, and then suddenly they'll see a performance happening in that everyday space. That's something that we really enjoy exploring. Daphna Attias:  It's really strange. When we made Take On Me, there was a scene which involved nudity in the changing room. There's always nudity in leisure centre changing rooms, but it was quite a big deal for audience members, it was like 'What?! One character was naked in the changing rooms!' It's taking a familiar thing and shining a light on it so you see it in a different way, theatricalising an everyday space. Take On Me (2018) Photo: Richard Budd IR: As part of your 20th anniversary, you’re remounting I Do, which you debuted back in 2013. Why did that feel like the right piece to revive for this anniversary year? Daphna Attias:  It’s a few things. Firstly, it’s a really joyful show, and we really, really needed a joyful show. We really missed it. We missed the feeling of it. It's like going to visit a familiar house or a familiar person that you haven't seen for a long time. I Do, for us, was the moment that a few things changed gear. It was when we found the connection between the form, the site, and the story to be the most satisfying. It's the first time we collaborated with a writer, and we were really trying to push a story forward. Before that, I don't think we were as successful in terms of telling a story in such an emotionally resonant way. It’s also a complicated show, and we just wanted to see if we could do it again! Terry O'Donovan:  Yeah, I think what you said about coming back to something that was a gear shift for us as artists is true. We devised the show for a year before Chloë [Moss] came on board. We'd been to the halls of residence at the University of Reading and spent a week there with 12 actors devising and figuring out how this form might work, and we did a sharing of that in Reading Malmaison back in 2012. After that, we said, ‘Okay, it's got the right shape’, but we didn't feel like the dialogue was as sharp as we wanted it to be, and we knew that we could go further. Lucy Morrison at the Almeida Festival connected us with Chloë, and we presented her with an Excel spreadsheet of like, ‘This is where all the actors need to be at these different times’, because it's all devised based on that. She brought in these other ideas that we would never have thought about in terms of story and brilliant, brilliant dialogue. It was a really great collaboration that I think pushed us off into another area that we hadn't been exploring as much as before. So when we thought about celebrating something or bringing something back - which we've never done before - we both just said, ‘I Do’. Video: Dante or Die IR: How has your relationship with the show changed since it was first created? Do you view it differently now, with another decade of living under your belts? Daphna Attias:  It's been an interesting process for Terry, Chloë and me, because we wanted to keep the essence of the show as it was, but also figure out who we are now and what we want to change. On a really practical level, the world has changed massively. The way we are with technology has changed. The 2013 version had a line that said, ‘Oh, the kids got me an iPhone. Everyone's got one these days,’ and sure - we had dating apps back then - but Tinder was invented the year before, so it wasn't as used as it is now, and there definitely wasn’t such a variety of dating apps. We were also younger, and in the middle or beginning of our relationships. Terry had just got married. I had just given birth to my second child, and Chloë was pregnant when we wrote it. Terry O'Donovan:  Yeah, we were the age of the bride and groom and best man, and now we're between the parents in that group. Daphna Attias:  It changes your perspective on relationships and what's important and what might and might not work. We’ve kept the core of it the same, but we've added a few things that we felt were missing and changed a few things that we felt didn't quite work well enough. Terry O'Donovan:  We've definitely pushed a couple of characters to places that maybe we wouldn't have been able to back then, because we didn't understand that we hadn't lived that life yet. Particularly the father of the bride, that’s a lot meatier than it used to be. There's a pregnancy test involved, and there's a more specific reason for that, and we really thought about that differently. I Do (2013) Photo: Ludovic des Cognets IR: For those looking to come to I Do, what role does the audience take on during the show? Terry O'Donovan: We love playing with an audience. I think I Do is a really fun experience as an audience member, because you’re not asked to do anything. You're literally a fly on the wall. But for us as performers, we’re really in amongst you, and you're kind of implicit within the action despite not being part of it. If anyone's wondering about coming - it's a lot of fun. IR: You’re currently in rehearsals for I Do with a brand new cast. How has that experience been, and have there been any unexpected discoveries once you’ve been running through it with the cast? Daphna Attias:  It was a really interesting audition process for us, as we had to throw away everything we know about these characters and invite new things into the room. It's always a joy to have a new cast. They have new opinions and new thoughts about things. We've been doing workshops every morning around how to behave with an audience or how to turn the lights on quickly or how we touch each other in the show. We came a lot more prepared in terms of, ‘Hey, team, this is the language that we're sharing.’ So they then have enough space to be playful within it. Whereas when we made it the first time around, we were inventing it as we were going. I couldn't have done these workshops because I wouldn’t have known what they would be about. Terry O'Donovan: Yeah, for some of the scenes, you're searching for something that you kind of remember in your body or your mind. It's a question of how do you articulate to these people who weren't around when we did it last time.  I'm sharing the role of the cleaner with a 20-year-old performer in this - it’s her first professional experience. She said to me recently that it was really good to be able to watch me do one section because she could hear Daphne saying something but couldn't imagine it. She said ‘When I saw you do it, I was like, ‘Oh, okay, I get it now.’ But to be able to articulate it would have been really difficult because we found it through devising.  When you find something through devising, you're doing exercises, you're not thinking about what actually has to get done. So then to remount it has real challenges in that way, for that stuff that's not spoken. There's a lot of physicality in the work that may be written on the page, but that doesn't quite lift off the page unless you play with it. I Do (2013) Photo: Ludovic des Cognets IR: Finally, looking forward to the rest of 2026, have you got other big plans for Dante or Die’s 20th anniversary once this run of I Do concludes and is in the rearview mirror? Terry O'Donovan:  It’s interesting that you say ‘in the rearview mirror’... Daphna Attias:  Yeah, that’s a good analogy! Terry O'Donovan:  We're making a new piece of work that's for the screen but also an installation. It’s called Driving Home, and it's about migration and immigration in UK towns and cities right now. It's going to be a documentary that includes animation, and we're going to meet five taxi drivers from across the UK, and create a piece that looks at how it feels in the UK right now. It'll tour as an installation in a black cab, so we'll be blacking out the windows of the cab, be driving it up into the middle of a town or into a shopping centre car park, and people can come in and experience the documentary in an immersive way. The front windscreen will be a close up of a rearview mirror where you see the taxi driver's eyes, and the windows will show the streets of the UK from each of the taxi drivers' places of residence. That's our next big piece. We're going to be filming it in May, putting it together over the summer, and hopefully premiering it sometime in August or September. Funding depedant.. Dante or Die's I Do will run at London Malmaison near Barbican station from 20th January to 8th February 2026, before heading to Reading Malmaison for performances from 11th to 14th January and Manchester Malmaison (Picadilly) from 18th to 22nd February. Tickets are priced from £35.00 for London, and £25.00 for Reading and Manchester.

Photo: Katie Edwards DARKFIELD, the producers of innovative, immersive experiences at the forefront of technology and theatre, are returning to Lincoln for the first time in two years, presenting their critically-acclaimed shipping container show ARCADE from Friday 13th to Sunday 22nd February 2026. DARKFIELD were last in the city in 2024, when they presented EULOGY to much excitement and acclaim. The producers of pioneering immersive theatre that involve 360-degree binaural sound, complete darkness, and a variety of sensory effects will pop up at The Lawn, Lincoln, with their newest trademark shipping container, inviting audiences to join them on a mysterious journey…  Photo: Mihaela Bodlovic Using the nostalgic aesthetic of 1980’s video games, ARCADE’s interactive narrative explores the evolving relationship between players and avatars. Over 30 minutes, players will guide their avatar through a world ravaged by endless war: you can choose a side, win or lose the war, search for a peaceful route, or join a cult promising a better version of reality. Players will ask themselves difficult questions as they navigate a world where some will win, and others will lose. No two journeys through the experience will be the same. ARCADE premiered to acclaim and sold-out at the Edinburgh Festival Fringe in 2024, before a blockbuster 2025, which included sell-out runs at BFI London Film Festival and Manchester’s Aviva Studios, and extensive residencies at both Shoreditch Town Hall and Queen Elizabeth Olympic Park. Photo: Katie Edwards Ahead of ARCADE arriving in Lincoln, DARKFIELD commented: We had a great time presenting EULOGY in Lincoln in 2024, so we are delighted to be returning with our newest show, ARCADE - our most ambitious show to date. We can’t wait for audiences across the city to experience it, and we hope they enjoy exploring the world they are immersed in, exploring the many pathways in the show, and hopefully returning to discover new paths! ARCADE will run at The Lawn, Lincoln, as part of Frequency Festival from Friday 13th to Sunday 22nd February 2026. For more information, visit frequency.org.uk

Photo: The Crystal Maze Experience The Crystal Maze Experience  is kicking off 2026 with a splash with the launch of its highly anticipated Ocean Zone, a brand-new environment that answers years of fan requests to bring the iconic TV show’s underwater world to life.    Now open at the London venue, the Ocean Zone plunges guests into an adventure beneath the waves. Victorian-era submarine aesthetics meet fantastical deep-sea exploration, as teams navigate a vessel where brass instrumentation and vintage exploration equipment contrast with the eerie blue glow of the ocean depths beyond. Photos: The Crystal Maze Experience The adventure begins as players descend through a submarine entry hatch onto the vessel's command bridge. Here, they'll find themselves surrounded by the tools of underwater navigation (from working periscopes to aged maritime charts) before venturing deeper into the craft. Throughout their journey, digital porthole windows reveal the mysterious waters outside, while the submarine's connected chambers guide teams through a series of challenges where split-second decisions and group coordination are essential.    The launch of the new zone marks the beginning of what promises to be a landmark year for the attraction, offering newcomers and dedicated fans alike a fresh reason to take on the Maze.     Matthew Stubbs , Head of Creative at Little Lion Entertainment, said: The Ocean Zone has been one of the most requested additions from fans of the original show, so we wanted to honour that while creating something that feels entirely new. Every detail has been designed to add to the experience’s sense of immersion and excitement, with challenges that test teamwork, timing and decision-making like never before. It feels unmistakably like what regular guests of the Crystal Maze have come to know and love, but brought to life through a new lens. The Ocean Zone continues The Crystal Maze Experience’s legacy as the original immersive team challenge, evolving the beloved Maze format while staying true to what made it iconic.   The Crystal Maze Live Experience runs at 22-32 Shaftsbury Avenue. Tickets are priced from £79.00 per person. For more information and to book tickets, visit the-crystal-maze.com