Photos: Mihaela Bodlovic DARKFIELD - acclaimed producers of innovative, immersive experiences at the forefront of technology and theatre - have announced their Edinburgh Festival Fringe 2026 line-up, featuring three of their most critically acclaimed shipping container experiences - FLIGHT, COMA and ARCADE - and a move to a brand new site at Assembly George Square. DARKFIELD are world-renowned for their unique combination of cutting-edge 360-degree binaural sound, sensory effects and complete darkness to create immersive experiences, situating participants at the centre of intense, evolving narratives. This year, DARKFIELD will present work at Assembly George Square, right at the heart of the Edinburgh Fringe, for the first time. Acclaimed immersive container shows FLIGHT and COMA will sit to the south of Assembly George Square Gardens, in front of the Gordon Aikman Theatre. Photo: Mihaela Bodlovic One of DARKFIELD’s most popular and critically acclaimed immersive experiences, FLIGHT, returns to the Edinburgh Fringe for the first time since 2024. In an interior that resembles an Airbus 320 economy cabin, FLIGHT explores the Many-Worlds Interpretation of Quantum Mechanics, taking audience members through two worlds, two realities and two possible outcomes to their journey. There are many worlds in which this plane lands safely. Since premiering in Edinburgh in 2018, FLIGHT has toured extensively, both across the UK and internationally, including extensive recent residencies at London’s Queen Elizabeth Olympic Park and Manchester’s Aviva Studios. Photo: Mihaela Bodlovic For the first time since 2023, COMA returns to the Edinburgh Fringe. COMA invites audiences to take part in a mass experiment, and together, slip into a collective dream, encouraged by a mysterious voice in their headphones. Harnessing all of the skills in DARKFIELD’s technical arsenal, COMA takes place in the pitch-darkness, utilising 360-degree binaural sound, and with some unique additions developed specifically for this show that leave audiences wondering what’s real and what’s a dream. COMA premiered in Edinburgh in 2019, before winning an Adelaide Fringe Weekly Award in 2020, and has since toured extensively, receiving rave reviews from immersive and traditional theatre critics and audiences alike. Photo: Mihaela Bodlovic DARKFIELD will also be returning to their signature spot at Pleasance Dome, Potterrow Plaza - just a stone’s throw away from George Square. For the third year in a row, DARKFIELD will bring their newest and most interactive experience, ARCADE, to Edinburgh. Since its sell-out premiere at Summerhall in 2024, ARCADE has enjoyed acclaimed runs at BFI London Film Festival Expanded, Shoreditch Town Hall, Queen Elizabeth Olympic Park, and Lowry, amongst others. Using the nostalgic aesthetic of 1980’s video games, ARCADE’s interactive narrative explores the evolving relationship between players and avatars. Over 30 minutes, in the darkness of one of DARKFIELD’s trademark shipping containers, audiences choose their own path through the story whilst experiencing DARKFIELD’s signature 360-degree binaural sound and sensory effects for a fully immersive experience. Photo: Mihaela Bodlovic DARKFIELD Artistic Directors, David Rosenberg and Glen Neath, commented: We're as excited as ever to be returning to the Edinburgh festival, for what will be our 9th visit as a company. We’re especially thrilled to occupy a new space in Edinburgh this year: right at the heart of the festival, in Assembly George Square. We’re bringing three of our crowd-favourites this year - FLIGHT, COMA and ARCADE - and can’t wait for audiences in Bristo Square, George Square, and across Edinburgh, to experience them! DARKFIELD's FLIGHT, COMA and ARCADE will run from 5th to 31st August as part of Edinburgh Fringe Festival 2026. Tickets are priced from £15.00, and can be booked via edfringe.com Immersive Rumour's annual Edinburgh Fringe guide will be released this summer, highlighting the best immersive and interactive experiences at the festival.

Hannah Jagoe reports back on the final three performances of Nuno Moreira's 'A Morte do Corvo', which just concluded its run at Lisbon's Hospital Militar da Estrela. Photo: A Morte do Corvo A Morte do Corvo, Lisbon’s grand necromantic immersive show, died last month after an impressive three-year run. The cause of death in this case was entirely natural: after several extensions, the production finally announced that the end was nigh. It was this bleak prognosis that finally inspired me to make the trip to Lisbon and see the show for the first time by attending its final three performances. Why was its passing worth attention? Because A Morte do Corvo was not simply a successful large-scale production, something increasingly rare these days when even established companies struggle to break even, but part of the emergence of a Portuguese immersive theatre scene that traces its beginnings to Nuno Moreira’s previous show, E Morreram Felizes Para Sempre (2015). The show’s clear Punchdrunk lineage was evident in its structure: masked audience members moved through the space following character loops like ghosts, only occasionally being acknowledged in public interactions or one-to-ones. Like Punchdrunk’s work, the story was largely dialogue-free and instead conveyed through movement, hidden documents, and set details. Photo: A Morte do Corvo Where Punchdrunk might employ extravagant acrobatic dance numbers, A Morte do Corvo relied instead on simpler, more stylised movement. That gave the show a darker, more grounded quality, though it also meant the production lacked some of the wild crescendos and raw spectacle of Punchdrunk at its best. The Portuguese character of the story was most evident in its plot, which revolved mainly around a fictional rivalry between Edgar Allan Poe and Fernando Pessoa, one of Portugal’s most important literary figures. In the show, the two were members of the mysterious necromantic cult, the Order of the Raven. Driven by jealousy, Poe bribes, blackmails, and deceives the other characters into betraying and abandoning Pessoa, leading to his death. If the story were a chess match, all the pieces were being moved by Poe around a largely oblivious Pessoa. This imbalance may have detracted from the tension, but not from the tragedy or the force of the performances. Henrique Gomes brought a mad, sinister intensity to Poe, while Celso Pedro played an almost otherworldly Pessoa. Photo: A Morte do Corvo The old Hospital Militar da Estrela was as much a character in the show as any of its performers. Glossy red corridors flickered with torchlight. Stunning marble bannisters and imposing iron gates dominated the space. While some connecting spaces remained fairly liminal, other areas of the set felt richly lived-in and purposeful. Highlights for me were the Green Fairy, a beautifully constructed speakeasy full of 1920s opulence, and the winding, tree-lined forest. Character rooms were filled with details for fans to discover, from chess pieces hidden throughout the space to arcane documents and clues. The lighting design was also particularly remarkable: invisible flocks of ravens were effectively conjured as candelabras flickered and jerked to the sound of their cries. Photo: A Morte do Corvo The show was particularly insightful on the voyeuristic nature of immersive theatre. To see some of the more explicit scenes, audience members had to slide into a narrow gap and huddle around slits cut into fabric-covered walls, peering into a horse box. An unsuspecting audience member was then pulled into this scene and trapped with a gyrating, sinister conspirator, suddenly transformed from voyeur into spectacle. Other line-blurring public interactions were especially novel and bold. Pessoa spooning an audience member in bed while whispering poetry to them was intense and poignant. By contrast, the private one-to-ones were more variable, ranging from the stunningly designed and executed encounter with Poe to interactions that felt like vague busywork, included more to appease completionists than to offer real insight into the inner lives of the characters. Still, those weaker moments did little to diminish the overall mood and ambition of this show. Photo: A Morte do Corvo A Morte do Corvo, as we knew it, may now be dead, but the final three shows attracted devoted mourners from many different countries across Europe, and perhaps most importantly, the production left behind a new generation of Portuguese immersive theatre fans, many of whom excitedly told me this was their first brush with immersive theatre. The show is survived, in part, by House of Neverless, a new company involving many of the original creatives and continuing to create work out of the same space. This has left me hopeful that some strange new show might soon have us flocking back to Portugal. ★★★★ Words: Hannah Jagoe A Morte do Corvo ran at Hospital Militar da Estrela in Lisbon. The show closed on 28th March 2026. For more information about the show, visit amortedocorvo.com

Photo: Lemon Difficult Lemon Difficult Studios, the company behind the critically acclaimed ‘The Locksmith’s Dream’ and ‘The Key of Dreams’, has announced new dates starting May 2026 for the second season of ‘The Key of Dreams: Shadows Lengthen’. With a distinctive style that blends luxury, theatre and game mechanics, Lemon Difficult has carved out a unique space in the immersive landscape. Known for their 24-hour, open-world mystery adventures set in heritage venues, the studio offers guests deeply personal journeys guided by live actors, culinary experiences, and intricate narrative worlds. Following the success of the first season, Lemon Difficult have announced that The Key of Dreams will return with a complex multi-arc story in May 2026 with the next thrilling instalment - The Shadows Lengthen. Photo: Lemon Difficult Building on the myths of Miskatonic University and the evocative setting of Treowen Manor, in Monmouthshire, the second season introduces a fresh chapter in the narrative: a new age of uncertainty and discovery as guests uncover lost knowledge, secret societies, and the blurred boundaries between reality and dream. A further layer of depth and intricacy is added as characters within the story will face consequences for their actions and, with the aid of guests, choose what to do with the power that they have acquired. The ability to change the direction and outcome of the story takes the immersive element of Key of Dreams to an exciting new level. Founder Ivan Carić and his talented team have created something entirely original. Success amongst both critics and the general public has allowed Lemon Difficult Studios to now plan and to build on this impressive legacy with a series of forthcoming concepts based on both well-loved IPs and original storytelling. Photo: Lemon Difficult Ivan Carić, Creative Director of Lemon Difficult Studios says: It took us a long time to try to provide points of reference for what we do here at Lemon Difficult Studios – and alongside the guests and the press, the conclusion is that it’s something entirely new! It not only brings great food and drink and a wonderful location but also crafted immersive experience that is finding fans from across the world. We are constantly working on new concepts and how we can confound expectations even further! 2026 is looking to be an amazing year with new stories and characters ready in the wings to be brought to life. Lemon Difficult continues to set the bar for detail and guest engagement, operating at a performer-to-guest ratio of nearly 1:3. Their boutique approach is underpinned by a commitment to craftsmanship, from narrative design to onsite fine dining, in- world service, and immersive set dressing, delivering an experience described by guests as 'magical', 'bespoke', and 'unlike anything else.' Photo: Lemon Difficult With a growing international following and new concepts in development, Lemon Difficult Studios remains at the forefront of immersive innovation, blending theatrical storytelling, exceptional hospitality, and bold imagination to redefine what live experience can be. The Key of Dreams: Shadows Lengthen runs across multiple dates from 7th May through to 7th November 2026 at Treowen in Monmouthshire, Wales. Tickets start at £450 per person, and include all meals alongside access to the 24-hour long experience. For more information and to book tickets, visit thekeyofdreams.co.uk

Photo: Lemon Difficult The Key of Dreams is a 24-hour-long immersive experience set within the grounds of Treowen, a 17th-century manor house in Monmouthshire, Wales. The experience combines fine dining, puzzle and escape room elements, improvised interactive performance, and branching narratives to create a one-of-a-kind, occult-infused immersive world that's driven by the audience and their choices. With only 30 guests per show, The Key of Dreams is also incredibly intimate, with guests dining alongside the cast and staying overnight under the same roof. Since opening in 2024, The Key of Dreams has received critical acclaim, with BroadwayWorld UK describing it as a 'masterpiece of dark, intense immersion' and TimeOut calling it 'as epic as it gets'. In our 2025 review of the show's first chapter, we named it one of the best immersive experiences on offer anywhere in the world today. The show's second chapter - Shadows Lengthen - recently won the No Proscenium 2026 Audience Award for the United Kingdom, beating out the likes of Secret Cinema and Sage & Jester. We sat down with Lemon Difficult's Ivan Carić to discuss, among other things, the show's design, the importance of audience agency, and how a walk in the Welsh countryside led to the show adopting a three-chapter story arc that spans multiple years. Photo: Lemon Difficult Immersive Rumours: Hi Ivan. Thanks for speaking with us today. Do you mind introducing yourself and telling us a bit about what your role is within Lemon Difficult? Ivan Carić: I’m Ivan Carić; I’m the co-founder and creative director of Lemon Difficult. We were founded a couple of years ago with the idea to create immersive experiences that excite both myself and the team that I work with, and are unique, personal and touch people. Immersive Rumours: For those who haven’t been to The Key of Dreams, can you give us a brief overview of what the show is about? Ivan Carić: I still struggle to have a succinct elevator pitch about what exactly it is, but ostensibly, The Key of Dreams is a 24-hour-long immersive experience set within a Lovecraftian, weird fiction world with strong folk horror notes. In a lot of ways, it's a horror show with a small 'h', as there’s this feeling of creeping dread throughout rather than jump scares and lots of blood, but the audience is there as themselves to help investigate a series of stories and events that have happened within Treowen, a real 17th-century Jacobean manor house in rural Wales.

 Within the show, there are a number of secret societies and cults that all have their own agendas that you can choose to get involved in, and you can choose to either help them or hinder them, but ultimately it’s about building relationships with the characters in the world and then making moral decisions either on your own or as a group that affect those characters. Different personalities and different combinations of people lead to different events unfolding, so it's a very bespoke and personal show because it is so responsive. Every show is different. Photo: Lemon Difficult Immersive Rumours: What does the overall structure and audience journey of The Key of Dreams look like, from arriving through to departing 24-hours later? Ivan Carić: The show is structured in five parts, which follow the structure of a traditional ghost story, and they act as touchpoints for the things that are going to happen, whether those are scripted or unscripted. 

 When you first arrive at Treowen, you're met by a character who explains the rules of the house before you head to your room and settle in. This section is called ‘Arrivals’. There’s a chance to explore the grounds a little bit and meet the rest of the audience, and then around 1pm, you have lunch and eat alongside some of the show’s characters. Over lunch, you learn a little bit about the world and what you're there to do, which is to investigate stories and things that have happened at Treowen. There’s an organisation that you're there to represent, but there are also some other organisations that become apparent later that all have slightly different goals. 

Later in the day, after dinner, we move into what we call ‘The Descent’, which is when everything just goes batshit, and all of the weird stuff has been confirmed. It’s later at night, and you're investigating in depth and really believing the things that are going on before entering an extension of that section called ‘The Door Opens’, which is this liminal time where decisions can be made that can have genuine consequences. 
The night builds up to a fever pitch as people are frantically running around doing crazy stuff, and the pace speeds up. Things the audience has uncovered about different characters can be used as blackmail material or to try to help some of them. 

The following morning, there's ‘The Aftermath’, which has the feeling of a hangover, where you’re looking at the consequences of the decisions made the night before, and there’s a final opportunity to make further decisions in the morning and see what happens to the characters. Photo: Lemon Difficult Immersive Rumours: As you’ve mentioned, The Key of Dreams is a 24-hour-long experience, and guests spend some 15+ hours investigating the house and interacting with the show’s cast. How does that day-long duration help shape the relationships and allegiances between audience members, and do you think a shorter version of the show would work in the same way? Ivan Carić: It's a really good question because I’m constantly thinking about how we can do something that is shorter and if it would lose some of what makes The Key of Dreams so special. When you first arrive at Treowen, there's far more content than you can actually absorb, but that bewilderment is an important feature because it’s a much more satisfying experience once you've figured out how things work, and if you've come from a place of being slightly overwhelmed, you get this feeling of mastery which is a key touchpoint that the show’s duration allows for. The idea behind The Key of Dreams was always that we would get people doing crazy stuff towards the end of the show that, if you told them at the start, they'd never believe. In order to take people out of themselves and genuinely immerse them, you need time. The audience are in a world where they’re encouraged to play, but more than that, the actors get to develop a relationship with them and understand what it is that they're interested in and what they want to explore. That's part of what gives people the confidence and the understanding to behave in the way that they end up doing towards the end of the night. One of the things that was really important to us when we were first crafting the show is that in the big Lovecraftian stories, there’s always some sort of giant, terrible thing that’s summoned, or the world's going to be destroyed. We obviously don't have the budget to do that, and I think it would arguably be less effective to have a big, huge set piece like that within the show, so the decision was made to get people to care about the characters because then the consequence of what happens to them and some of the moral decisions are more meaningful because you end up caring about them one way or the other. Photo: Lemon Difficult Immersive Rumours: Clearly, people do find themselves really caring about the characters that inhabit Treowen, because you’ve got a pretty sizeable and dedicated audience who return to Treowen again and again, right? Ivan Carić: Yeah, absolutely. Around 20% of our audience at every show are returning visitors who are already invested in the world and the characters. The challenge is finding a way to not fall into just doing fan service, because that ends up distorting things. We look to find a way to honour their view of the world and the characters and the knowledge that they have, whilst not disrupting the experience or making people feel like they've missed out if they're coming for the first time. Photo: Lemon Difficult Immersive Rumours: Besides the duration, one of The Key of Dreams' most unique elements is the show’s setting, taking place around the house and grounds of a 17th-century manor house. In a lot of ways, Treowen feels like a character in its own right. Ivan Carić: You're right in that the building and the setting are characters. You can look out at the landscape and feel like you could have been there 200 years ago, and it’s got beautiful grounds. It's also an extraordinary building in that it hasn't really been renovated. It's very old. There are a lot of stairs… IR: As someone who stayed on the top floor, I can confirm. There are a lot of stairs. Ivan Carić: Of course, the building has advantages and disadvantages. We can't physically change the building, but in terms of lighting, there's a lot that we do there, and it’s very effective. Treowen is a little battered and worn. There's no point pretending otherwise. So let's embrace that and make it a feature of what it is. We ease people in and then invite them to believe, you know, there's a ghost, or there's this or that. The building does help that, but it’s equally to do with the approach. Photo: Lemon Difficult Immersive Rumours: Given how much agency the audience has to steer the experience, The Key of Dreams doesn’t have a traditional ‘script’ in the same way a lot of other immersive shows do. Can you tell us a bit about how you keep all of the narrative plates spinning behind the scenes as the story unfolds? Ivan Carić: There are some scripted elements and particular scenes throughout the show that are heavily scripted. Laura, our lead writer, produces those, and they’ll get tweaked with the actors when we go through them in rehearsals, but a lot of the show’s shape is structured by those sections I mentioned earlier. It means that obviously, when it's scripted, it's scripted, and we know what it is and where it fits, but each of the characters also knows what sort of person they are, the key beats to hit, and the feelings to evoke during each section. You’d never have a discussion about what Randolph Carter is going to be doing during ‘The Descent’, because by that point, he's fully committed to the terrible things that he's going to do and the little group of people that he's gathered together. A good analogy would be if you were to look at Punchdrunk’s masked shows. They're like a precise Swiss watch. Everything is done according to a very tight schedule, with the repeating motif ahead of each reset, and it works beautifully. The audience’s agency is focused on their individual point of view rather than affecting the world. With The Key of Dreams, I was interested in looking at how you take something as structured as a Punchdrunk show and break it down into multiple interconnected systems, capabilities, tools, and resources that both the audience and the actors have available to affect change, to drive drama, and to create these moments of magic and opportunities for emergent play. Photo: Lemon Difficult Immersive Rumours: The show combines a lot of different elements - there's immersive performance, dozens of puzzles, interconnected storylines, and the audience has a huge amount of agency over how they approach their time there. How do you balance all of those elements so one doesn’t outshine the others? Ivan Carić: I think trial and error. The idea was always that you could choose to engage exclusively with one element of the show, whether it be the puzzles, the characters, the stories that need investigating, or the secret societies. We’ve got a 3:1 guest to cast ratio in The Key of Dreams, so the characters can easily guide people and nudge them in a particular direction if there seems to be too much focus on one thing, but there’s this organic balancing that happens because the characters are developing relationships with them personally. It might be, for example, that you’re following a particular story, and the characters might identify that one person is interested in doing that, but there's another person who's looking a little bit lost, so they can put those two people together in a non-forced way. It's obviously always down to people's individual choices, but they might be gently nudging people towards these moments or towards checking a particular room where there are some puzzles that they know have some elements that might be of assistance. Backstage, we have management of what's going on, but a lot of it is delegation. This comes down to the collaborative approach we take to the characters alongside the actors themselves, who then can provide that assistance. Photo: Lemon Difficult Immersive Rumours: When you were creating the first chapter of the show, how did you go about researching all of the real-life local history of not just Treowen but the surrounding area and weaving it into The Key of Dreams’ storylines? Ivan Carić: As a team, one of our passions is around this idea of imagined history and local folklore mixing with real history. Many of the people mentioned in The Key of Dreams were real people. There's a delight in using these real elements, because it makes the world feel more real. Within The Key of Dreams, there's the story of the house itself, starting with when it was built and why it is the way it is. For example, the top floor is split in half because half of it fell into disrepair in the 17th century. We take that little historical element and then add our own layer to it, so in the show, there's a story to do with the Witch of Treowen, who is essentially being driven out of her own house. The woman who built the house, Anne Jones, if you look at the parish records, lived for 150 years. She obviously didn't because ‘Anne’ and ‘Jones’ are very common names in South Wales, and parish records in the 17th century weren’t great, but if you take that as a starting point, and then you say, ‘Okay, she did live for 150 years, so what did she do to prolong her life?’ We base a lot of the stories that are being investigated on existing works of weird fiction. There's one that's based on Lovecraft’s The Case of Charles Dexter Ward and The Yellow Wallpaper, which is a story by Charlotte Perkins Gilman. Laura, our head writer, will rewrite it in the style of the authors but using elements of several stories that are then combined with this overarching conceit that they happened at Treowen. One of the authors that we draw on is local to near Treowen, a man called Arthur Machen, who was a giant of early 20th-century weird fiction. He literally grew up 20 miles away from the house. In fact, the owner of Treowen actually knows the people who are living in the house that he grew up in. It’s a small world once you start looking for patterns. There's a word I've not used in a few months now, but I was mocked by the team for using it constantly. The word is 'apophenia'. It's a medical condition that was coined in the 60s, and it's about seeing patterns and connections when they are not there. Our brains obviously are pattern-creating devices, and that's part of the joy of what we do. We’re trying to induce, in the nicest possible way, this feeling of apophenia in the audience, where everything could be linked, but you can still tug at the various strings and make sense of it. Guests should really be questioning if something is there because it’s part of the show or if it’s just part of Treowen. You want to surprise people, but often with the horror stories that I like, the big reveal at the end may be beautifully done and may be a surprise, but the journey up to that point should be delightful and interesting on its own. Photo: Lemon Difficult Immersive Rumours: We came to review The Key of Dreams last June, but since then, you’ve concluded the first chapter of the show with a two-day-long final show, and you’re now well into the show’s second chapter. Can you talk us through how you landed on the idea of updating The Key of Dreams' story every couple of years and the impact that finale had on shaping the show’s story in Chapter Two? Ivan Carić: I'd love to say that right at the very beginning, before we were designing the show, we knew that we were going to have a three-season story arc and were going to have these season finales at the end of each one, but that's not actually true. The idea came up maybe a third of the way through what was the first season. I’d been on a walk with one of the actors in between shows just to get a bit of air, and the idea of having an ending and letting the audience decide how things would play out if we brought one of the characters back from the dead came up. We decided to make it into a special, one-off show that ran for two days. Most of the people who came to the Chapter One season finale had been to the show before - not everyone - but I think 27 out of the 30 had been before, so we built an acknowledgement that they’d been there before into the show. One of the things about going back repeatedly to an immersive theatre show is seeing how the world responds to you having been there before and whether you're using knowledge that you shouldn't have. If you go to a Punchdrunk show, some people want to have the one-on-ones so they know roughly where to stand in the hope that they're spotted, or there are particular scenes that they missed and want to observe, but it’s not acknowledged by the show. For us, we needed to acknowledge that people had been to the show before and they’d built relationships with the characters and not pretend as if the show’s events hadn't played out before. There was a reason why the stories kept repeating, built into the world. There was this fabulous sense of almost relief from the audience when they realised they had permission to talk to each other about it, and interestingly, it then made them more complicit in the whole thing and made the experience feel more real. We planned some potential outcomes, although not the outcome that in the end actually happened, but this is where collaboration with the actors made an awful lot of difference. The audience pushed the characters towards terrible, terrible decisions. Some very bad things happened. And then the audience almost went, ‘Oh my God, what have we done? This is a real person here that's actually on the ground broken because of these things that we encouraged them to do.' The next day, there was an attempt by the audience to show care towards the characters, which was an unexpected thing. The balance in the story of The Key of Dreams has always been that the audience is where a lot of the humanity comes from, and they contrast against the bleak existential pointlessness of Lovecraft. You wouldn't want to live in that world, but it needs to be there because that's what the story is about. The audience’s betrayals and collaborations are a counterpoint to that. The way the audience reacted to the new character coming back from the dead not only had implications for the change in relationship between the different characters, but it also informed how we designed their relationships for Chapter Two. As for the stories, we learned a lot from Chapter One, and the writing is a lot tighter this time around. It's a lot more interesting to investigate, and we’ve had good feedback on that. The bulk of the audience effect has really been in how they treated the characters, the sorts of things they encouraged them to do, and then the consequence of that. Those relationships have then informed, to some extent, the show’s social mechanics, mainly that what the secret societies want is based on what the audience did during that Chapter One finale. Photo: Lemon Difficult Immersive Rumours: You’re also working on expanding the show’s world to exist outside of those 24-hour-long runs at Treowen. Can you tell us about what the future holds for Lemon Difficult? Ivan Carić: We're hoping to go to a big Lovecraft convention in the summer, and there are a couple of things that we want to take apart from ourselves. One of them is this video recording of The First Harvest, which was filmed throughout the two-day season finale. The idea is that we produce a short, 40-minute mockumentary of the events that happened. The working title is the extremely snappy ‘Ancient occult traditions in modern rural Wales’, which is going to pack them in at the Odeon. We’ll come up with a slightly tighter title, but the idea is that it feels almost academic. We're hoping to get some folklorists and historians involved and interview them as part of this imaginary mockumentary. The idea is to create something that stands on its own feet but also acts as an introduction to the world as well. There's a horror podcast that we're looking to create. We’ve got a shape for the first season that involves some of the characters from the show. It's called ‘The Dee Sessions’, and it's John Constantine meets The Sopranos, asking, ‘What if a broken occultist goes into therapy?’. As an offshoot of that, Laura has written a script for an episode of William Moore's podcast, The Grimoire Diaries. It’s to do with folk horror, but there are fairytale and nursery rhyme elements too. In Season Two of their podcast, there’s going to be an episode set in Treowen with their characters coming into our world. That’s a fun thing, and we’re looking forward to seeing how that collaboration pans out. We also have a partnership with a company that does residential role-playing experiences, which is likely to happen in 2027 as a four-day residential tabletop role-playing game, similar to D&D in a Castle but with Call of Cthulhu and set within The Key of Dreams world. We're going to write a campaign, and based on that, we're going to have these three different tabletop sessions happening simultaneously, where there'll be some element overlap. We want to bring in some magic that I've not really seen at these sorts of events before and produce a series of ARG-style videos before the show that people can use to investigate, inviting them and immersing them in the world before they start. During the three days of tabletop role-playing, there will be… at the moment we’re calling them cutaway scenes… but the idea is that we have 30-minute scenes where all of the different players participate in something like an auction of Randolph Carter's possessions after he's kind of disappeared off.

 There's elements of story that emerge, but also there are actors to engage with, so it's not a LARP, but it's something that enhances the experience. There’ll also be puzzle and story elements in the house that, in between sessions, people can engage with, and then they can use any information they discover from those in the role-playing games.

 We also want to run a series of what we’re currently calling ‘A Slice of Lemon’, which will be an overnight makers' workshop. We’d have some of the performers there, us from the direction side, and later have a writing workshop. People can come, stay at Treowen and produce a short piece of work alongside the performers and get feedback from the other people at the workshop and us as well. Photo: Lemon Difficult The Key of Dreams runs at Treowen, just outside of Monmouth, Wales, on selected dates across 2026. Tickets are priced from £450.00 per person, excluding accommodation. You can save 15% on tickets to all May 2026 dates with the code 'A-TONE'. For more info and to book tickets, visit thekeyofdreams.co.uk

We race through as many of Escape Arcade's 30 unique 'simulations' as possible in this Chancery Lane-based interactive escape-room experience. Photo: Enigma Quest Enigma Quest's Escape Arcade is a competitive escape-room style experience located near Chancery Lane for teams of up to 4 players. Within it, groups have 60 minutes to earn as many points as possible across a number of the experience's 30 different 'simulation' rooms. While it's similar in design to Prison Island, with both experiences offering players the freedom to choose which rooms to tackle in any order they like and the ability to replay rooms if they choose, the two experiences differ in several key ways, most notably in their game styles and Escape Arcade’s approach to time management. Although the primary goal for those taking part in Escape Arcade is to top that day's leaderboard, there's some light narrative theming woven throughout. The experience centres around Engima Quest's Chancery Lane headquarters acting as a front for EQIC, an elite shadow force dedicated to maintaining world order. Within EQIC, Escape Arcade serves as the proving ground for would-be operatives to demonstrate that they've got what it takes to join the organisation. Photo: Enigma Quest The experience begins with a short briefing from an EQIC operative. As expected, there are the usual warnings about not damaging the rooms or removing anything from inside them, but once each team is issued a wristband, which unlocks available rooms and tracks scores, they're free to explore the underground facility and decide which of the many rooms to take on. There’s a huge variety of challenges on offer across Escape Arcade’s 30 simulations, with rooms themed around everything from kitchens and tube trains to top-secret government facilities and drab open-plan offices. While some rooms rely on physical skills such as balance and agility, Escape Arcade places a strong emphasis on deduction, reasoning and team communication, making the majority of the experience open to everyone, regardless of fitness level. Outside each room is a small panel displaying the game’s name, a brief description of its contents, and details on the game type and the skills required to succeed. While all of this information is helpful, much of the enjoyment in Escape Arcade comes from stepping through the doors without knowing exactly what awaits on the other side. Photo: Immersive Rumours Regardless of the skills required within each simulation, once a team commits to a room, they're unable to try any others until that game’s five-minute timer has expired. If it turns out to be a game where the team is scoring well, great. If they struggle to understand the objective and fail to click with it, there is no way out until time runs down. While this enforced 5-minute cooldown for entering rooms means that every team will come out of the experience having played roughly the same number of games, even the most committed teams will only get to try around a third of the games on offer at Escape Arcade in a single visit. During our session, we completed 11 rooms, which feels like the average. In comparison, a standard session at Prison Island provides just enough time to attempt all 30 rooms, even if some of them yield no points. Photo: Enigma Quest Without revealing too much about the individual rooms, some of our personal highlights included The Library, which has teams frantically searching shelves of books while solving riddles; Retro Reels, styled like a Blockbuster, where players identify films from their trailers and scan the correct DVD case; and Staying Alive, a dancefloor-inspired space that requires teams to step on illuminated floor tiles with precise timing to earn points. Not all of these games produced high scores for us, but each was engaging and easy to grasp, which makes a significant difference in the opening moments of entering a room. While all of the challenges we attempted at Escape Arcade functioned as intended during our visit, we did encounter an issue in a couple of rooms that prevented us from scoring higher. There is a noticeable level of sound bleed throughout the venue, with music and shouts of excitement from neighbouring rooms carrying across. This will vary depending on how busy the venue is, but during our visit, it made the pre-recorded prompts in several games, most notably Steam Train Speed Train and The Museum, incredibly difficult to hear. Photo: Immersive Rumours Beyond Escape Arcade, the rest of Enigma Quest’s Chancery Lane venue has recently undergone a refurbishment, transforming the bar and waiting area from a fairly plain lobby into a futuristic starship interior reminiscent of Bridge Command’s in-world bar, The Mess. It is a significant upgrade over the previous space and has the potential to turn a visit to Enigma Quest from a quick hour-long activity into a full afternoon or evening out, particularly when taking into account the bar’s extensive themed cocktail menu, The Comet Club, their in-house pizzeria, and the three traditional escape rooms also available on-site. Photo: Enigma Quest While not without its flaws, Escape Arcade’s approach to competitive gameplay ensures that the 60 minutes spent attempting to prove yourself to EQIC are consistently engaging and, above all, a great deal of fun. For those seeking an escape room-style experience that can be shaped around personal preferences, Escape Arcade is likely to meet your expectations. Following our visit, we found ourselves placed fifth on the leaderboard for the day, which surely must have caught the attention of the higher-ups at EQIC. They know where to find us if new operatives are required... ★★★½ Total score: 83717 [Tickets gifted in exchange for an honest review] Enigma Quest's Escape Arcade runs at 86 Fetter Lane near Chancery Lane station. Tickets are priced from £25.00 per person and can be booked via enigmaquests.london

Fast reflexes, teamwork and communication are key in this immersive gaming experience that finishes with a bang... literally. Photo: Fever Boom Lab is an immersive gaming experience based in Shoreditch for groups of 2-8 people. Part arcade, part escape room, the 75-minute-long experience consists of six interactive challenges that test everything from your reaction times and communication skills to your balance and dexterity. Across five main challenges, groups compete to earn as many points and lives as possible ahead of the grand finale, in which they race to defuse a paint bomb and avoid a colourful explosion being triggered when the clock reaches zero. The experience, which is produced by Fever, has already seen successful debuts in Spain, Australia and the United States (albeit under different names), and is the latest in a string of competitive gaming experiences to open in London over the last couple of years, alongside the likes of Prison Island, Enigma Quest's Escape Arcade and SPYGAMES. Photo: Fever Following a speedy check-in where groups decide on a team name and are given individual wristbands that track their progress throughout the experience, Boom Lab's basic structure is explained: teams have around 10 minutes inside each room, with the difficulty increasing as they clear each level. There's no way of 'failing' a room, but each group's performance will affect how many lives they enter the final challenge with. The more lives each team collects, the better their chances of success are. Boom Lab's first room is Blue Blur, which contains half a dozen interactive touch screens. While each screen has a few simple controls on it, including on/off switches, numerical sliders and dials, the instructions for what they need to be set to are on the other terminals elsewhere in the room. To progress, players need to work together and share the necessary information with each other as clearly and quickly as possible, as no player has it all in front of them at any given time. If you've ever played Keep Talking and Nobody Explodes, it's a similar concept, but with more people and inevitably, more shouting. Photo: Fever Progressing onwards, teams must next press as many light-up buttons as possible on Pink Panic‘s free-standing towers. It's essentially a more high-tech version of Whack-A-Mole, with different interactions needed depending on what colour each button lights up as. Some need to be avoided altogether, while others need to be tapped or held down until they disappear. Fast reaction times are the key to success in this game, though it's more forgiving to larger groups, who will find it easier to score highly as there are more free hands to go around. Photo: Fever Through the next door is Yellow Yell, which combines general knowledge and memory with precision. Team members stand in front of a screen that has six circular targets on it, and projected above them are a series of quick-fire questions, which teams answer by throwing balls at their chosen target. The back half of the game has some trick questions sprinkled in to keep players on their toes, and the introduction of some lateral thinking and maths in the later stages makes Yellow Yell the most mentally engaging room in Boom Lab. Photo: Fever Red Reflex is up next, which requires players to duck, crawl and jump through a field of lasers. It's deceptively simple at first, with static lasers barely going above your ankles, but the complexity increases with each new level. Those who progress far enough can expect to army crawl across the length of the space and have to time their movements to match sections turning on and off. To complete each level, the entire team need to tap their wristbands on a reader at the other side of the room, so there's no choice but to get stuck in and keep your cool, even as bursts of smoke are fired into the room to throw you off balance. Photo: Fever Boom Lab's penultimate challenge comes in the form of Orange Outrun, a tech-infused version of 'the floor is lava', which has players balancing and moving from one small raised platform to the next to collect keys that are projected onto the floor. Throughout, virtual fire-breathing monsters spawn in and spit fireballs towards random platforms, which need to be avoided at all costs. While they’re this game's main foe, they're not Orange Outruns' biggest obstacle - it's the distance between the platforms, which might be challenging for younger (or shorter) players to successfully clear without touching the ground. Alongside Red Reflex, Orange Outrun is Boom Lab's most physical challenge, and it's quite the workout considering the amount of time afforded to players, so be sure to conserve some energy while dodging lasers. Photo: Fever Boom Lab's finale, Solara, has players kitted out in protective overalls and face shields. The aim of this final challenge is to defuse a paint bomb against the clock by memorising and repeating a series of increasingly difficult patterns through pressure-controlled pumps, which each player holds throughout. Staring down the barrel of several paint cannons makes Solara a pretty nerve-wracking experience, and the risk of getting hit with paint is constant throughout, meaning even the smallest mistake could have big consequences. In practical terms, Solara's objective is somewhat at odds with what most players want to happen, as to succeed is to prevent the paint explosion from triggering (which is going to be one of Boom Lab's main draws), but thankfully the staff are more than happy to set off the paint explosion even if teams complete all nine of the challenge's levels before the clock runs out. Slow-motion cameras record each group's reaction to the paint exploding, and the footage is automatically emailed over after they complete the experience, which provides those who attend with some social-media-ready footage of them getting doused in paint. Photo: Fever While for the most part, Boom Lab doesn't deviate too far from the tried-and-tested competitive gaming formula of mixing physical and mental challenges, it's hard to deny that its explosive conclusion is a unique and engaging experience that's not on offer anywhere else. With a generous amount of time afforded to players in each room, there's the chance to get your head around the tasks at hand and develop some level of mastery, which isn't always the case in other competitive gaming experiences. The gradual increase in difficulty that comes with completing each level also means that, regardless of any group's skill level, they're not doomed to failure if things aren't going their way - they simply repeat the last level until they succeed (something that'll be particularly helpful if you're visiting with younger players). If you're looking for an engaging, high-energy activity that's more fun than frustrating and less physically demanding than the likes of Prison Island or Immersive Gamebox, Boom Lab is a great choice and stands out as a distinctive offering in a crowded market. Just be aware that it may leave a lasting impact on you. We're still trying to scrub some of the paint off our hands... ★★★½ Final Score: 1184 [Tickets gifted in exchange for an honest review] Boom Lab runs at 83 Rivington Street near Old Street station. Tickets are priced from £20.90 per person. For more information and to book tickets, visit feverup.com

Voidspace has announced the full line-up for Strange Play, a week-long showcase of grassroots experimental games and playable art taking place online and in-person at Theatre Deli from 13th April to 19th April 2026 as part of London Games Week. It kicks off on 13th April with Strange Play: Open Mic, which will see five pieces from the likes of Aaron Oliver (creator of What We Must), Alistair Aitchenson, and Kwan Ann-Tan being performed in the Theatre Deli bar. Tickets are pay-what-you-can. Later that week, Strange Play: Showcase will take over Theatre Deli on 18th and 19th April with 20+ experimental games, installations & playable art pieces being exhibited throughout the building. Tickets are priced from £12.00. Running alongside Strange Play: Showcase on 18th and 19th April is a series of separate, ticketed shows, which fall under the Strange Play: Shows banner, and include work from Chronic Insanity, Hazel Dixon and David Middleton. Admission to Strange Play: Showcase is included in the ticket price for these shows, which start at £18.50. Founded in 2021, Voidspace platforms interactive arts that invite their audience to participate in some way, from interactive theatre, fiction and poetry, to performance art, arthouse games, audio-visual work and LARP. The week-long event comes ahead of Voidspace Live, the organisation's annual festival dedicated to grassroots interactive arts of all kinds, which will run at Theatre Deli from 6th to 7th June 2026. The full line-up for Voidspace Live 2026 will be announced soon. Monday 13th April (Strange Play: Open Mic) Astilé Doherty’s Shorror Quiz by Atticus Zane Join Astile Doherty for a spine-chilling quiz, filled with eerie suggestions and creepy surprises. Dinner Time At The Café des Lumières by Neil Willcox You meet your dinner companion at the Café des Lumières. The food is exquisite, but time is out of joint. Your choices from the menu may illuminate the situation – or they may not. The God of Kevin by Aaron Oliver The universe might seem like complete chaos, but actually, every event has been meticulously planned by the gods. There’s just a LOT of gods. Today, the God of Kevin has gathered a group of them to help make a decision: how will Kevin die? The gods must brainstorm ideas, trying to represent their godly domain as much as they can, and gather support from as many gods as possible. At the end, whichever idea has the most gods supporting it will become Kevin’s fate. This show is a light-hearted game to encourage people to talk to each other and collaborate. My Date with Pierce Brosnan by Alistair Aitcheson It’s anarchic, it’s sexy, and it’s totally unpredictable. It’s a clown romance controlled by you! Mademoiselle Cafetière is a lonely clown who meets the man of her dreams: Hollywood actor Pierce Brosnan. There’s just one catch. Pierce Brosnan is a talking dummy piloted by you, the audience. Scan a QR code with your phone and type what you want Pierce Brosnan to say. If you type it, he will say it – he has no filter! Play matchmaker or wreak havoc in the most bizarre love story ever to grace the stage! The Vending Machine of Infinite Possibility by Kwan-Ann Tan Tired of your ordinary life? Buy a new future right here! Each of our products is guaranteed to transform your life in any way, shape or form.* *InfinitePossibility.inc are not liable for any unwanted or uncertain outcomes. All purchases are final, and no refunds will be entertained Saturday 18th April (Strange Play: Shows) All Falls Down by Chronic Insanity All Falls Down invites you into a thrilling experience where your choices shape the fate of a group of friends stranded after a plane crash. As they navigate the wreckage and the mysterious wilderness around them, you will guide their actions and decisions in a quest for survival. The audience plays a crucial role, directing the characters as they seek help while facing unseen threats lurking in the shadows of the forest. Your input will determine not just the direction of the story but also who you encounter, what challenges arise, and whether you will make it out alive. Spy of the Year Awards by Arlo Howard, Chloe Mashiter, Hannah Raymond-Cox, and Tom Black Welcome to the Spy of the Year awards ceremony! Your group of S.E.C.R.E.T. agents (and handler) are here to have a nice time and hopefully win some awards. With all the world’s greatest deceivers, tricksters and double-crossers in one place, surely nothing can go wrong. At the very least, you can trust everyone at this table… right? Right?! Sunday 19th April (Strange Play: Shows) Call of Cthulu: Carver’s Greed by Hakan Akgul The classic tabletop roleplaying game of mystery, creeping madness and unknown horrors, directed by master GM Hakan Akgul. Come and play – if you dare… The Nautical Trench by Hazel Dixon One week ago, you were alerted to a submarine that had come under distress somewhere in the North Atlantic Ocean. Systems on the submarine had failed, and the nearest research station at Greenland had reported an abnormality detected near a tectonic fault line the vessel had been travelling near. Experts from all over the world were scrambled, and you have been asked to be part of a new submarine crew to investigate. As your submarine approaches the last known location, you wonder what danger awaits you in the deep ocean. Saturday 18th + Sunday 19th April (Strange Play: Shows) Bear-Faced Liars by David Middleton Teddy bears are alive. They always have been. Humans just don’t know it. For lonely little Alex, Someday, Smush, and Farringdon are everything. That is, until Alex makes a new friend. Then comes the “accident”. Then comes the ambulance. And then comes the tribunal. Beneath the cheerful songs and gingham tablecloths, the teddy bears’ picnic has always hidden something darker. One of them broke the Bear Code. One of them chose to act. The Bear Code, it turns out, has some very creative interpretations… Saturday 18th + Sunday 19th April (Strange Play: Showcase) Advisor: Elderly Paradigm by Lucas Vially As an █████ Agency Advisor, you’ve seen it all. You have trained selected Uppers. You solved the Shifting Ticks epidemic. But this Event? It got you stumped. When things are desperate, your only option is to plan ahead and hope for the best. Let’s get started. Content warnings: Death, Suicide, Violence, Physical decline, Dementia, Agony, Cult A Poem: living &growing &decaying by Alicia Guo An interactive installation, where poems grow and die, treating text not as a permanent digital artifact, but a living material: one that grows, decays, and eventually dies following the rule that objects in the real world do not stay the same over time. Use words from existing, living poems to “”seed”” new poems, which evolve algorithmically over time. Revisit to witness the evolution of your poems and peruse the text planted by others. You can choose to take a poem home, printing out its current state through a receipt printer, which then removes the poem from the site. It becomes yours and yours alone. Bite the Hand by Gary Chadwick A visual novel about offering blood up to get closer to the person you are.The story of a boy, or a girl, or a person. Who meets with a woman, or a vampire, or…And the person gets whisked away as a girl. Which is what she always wanted. Or they always wanted to try. Or… The Book Ritual by Alistair Aitcheson An interactive art-piece played using a real-world book of your choice. Write in your book to tell it about yourself. Deface its pages in creativity exercises, so that your book can understand you. Tear out pages to keep the conversation going, as it reveals to you how it came to be and why it wants to know you. The Book Ritual is about dealing with loss and accepting grief. The process of tearing up a book allows players to live out the experience of loss and examine the emotions that arise. Bound Allegiance by Matthew Hawn Bound Allegiance is a live faction game where the audience becomes the players. It’s a piece about how quickly loyalty forms around arbitrary symbols, how it feels when that loyalty is tested, and what happens when you discover you care about a playing card you were handed ninety seconds ago. Contacting the Outer Planes by Jennifer Wiegel Thank you for contacting The Outer Planes. We will be with you shortly. If you feel that the madness is becoming too distracting, please press #9. Embrace by Skye Von Embrace invites participants to restore color and balance to a fading world through presence and a (consensual) hug — a quiet metaphor for how connection and empathy can reawaken the spaces between us. Faultlines by Mark Ward A queer, choose-your-own interactive sonnet about picking through the fragments for the truth when love goes sour. The Invisible Casino by Chris Diffin What appears to be a simple card game has a strange twist: all the cards are completely blank. Players can leave their mark on the deck and perhaps, by working together, figure out how to beat the Dealer. Kiss Garden by Ada Null Generative narrative installation about dyke sex and malaise. Two accounts unfold in parallel. A dyke falls in and out of endless half-hearted relationships, as someone explores a garden strangling itself. Take what you want and leave. A receipt printer is installed from a high-up place. An endless stream of procedurally generated text slowly descends. The audience is encouraged to rip off sections of text to take for themselves. The Lost Child by Kwan Ann Tan An immersive experience exploring a village fire, a suspected child, and the rapid spread of rumuor. Uncover shifting evidence through projected media, physical documents, and interactive mechanics, ultimately facing a moral decision about the child’s fate. The work examines how truth is ambiguous, unstable, and shaped by mediated fragments, reflecting contemporary life where public narratives are constantly filtered through overwhelming information. Love with NO FUTURE by Ducky Elford Love with NO FUTURE is inspired by Lee Edelman’s writings and his theories on how politicians and activists often use the notion of the figurative child to argue against the rights of queer individuals. More recently, this concept has been utilised to push queer adults into conforming to family-friendly and heteronormative ideals. This interactive experience is designed to echo classic love quizzes, which ask users a series of questions to generate predictions about their future love and sex lives. The results provide a reactionary queer or non-normative perspective on relationships, encouraging users to consider potential partners beyond the confines of a traditional heteronormative nuclear family structure. The work employs voice recognition technology and laser-cut interactive artworks to immerse the user in a new realm of sexual possibilities. Milk Teeth by Hannah Raymond-Cox The interactive poem is about losing my front teeth, losing innocence, the children’s book Heidi, and queerness. NeoArcana by Mike Damager neoArcana is a generative cyberpunk diegesis engine. It uses large language models and modified computer hardware to reconfigure the reader as an interloper in a story they were never supposed to see. Our Boat, The Thread by Ada Null Steer a motorboat into the underworld with a physical tiller. The game tells a branching narrative of queer grief and empire within a necropolitical mythology. Depending on the path taken, the game concludes in one of three wildly divergent endings. Together, they tell a story of cultural death, rebirth, and betrayal. Not all is as it seems. Made in collaboration with Alex Brettell. Rarity by Mary Tallontire Explore and reorganise the small landscapes and story so can get back to reality again. Short little 3D, first-person narrative game about life continuing after COVID and the weird time skip that occurred for people as their lives drastically changed in an ephemeral but 3-year time period. Explores themes and feelings around University, friendships, the notion of time passing and experiences that feel over before it’s they’ve even really begun. RECONSTRUCTION: An Interactive Novel (Working title) by Riley Gene [Description TBC] Roots by Irina Tsokova Roots is an autobiographical point-and-click visual novel created in Unity. By using 3D-scanned objects found in my childhood room in Sofia and my grandma’s hometown, where I used to spend most of my summers, I wrote a branching story narrative, which the player can uncover by clicking on the objects and inspecting them. Following my life from childhood through teenage years and later immigration to the UK, the piece provides a look at my impressions, stories and lived experiences in post communist Bulgaria and my arrival in the UK during Brexit. Audio elevates the experience, situating the player in soundscapes evocative of my emotions in the different environments and stages of my life. Slash by Clem deBaig New VR/movement-led hybrid work from the founder of Unwired Dance Theatre. So this is Innovation? by George Larkwright The surge in interest in AI over the last year has resulted in a slew of new AI projects. Most are utter bunkum. This is a game that satirises the sensibilities of the second-rate ‘entrepreneurs’ who peddle these projects across social media and the internet. Answer a set of questions to select your tech bro and generate an innovative AI project in a sector of your choice. The game has four ludicrous tech bros to embody and 32 different AI projects to discover - all were fictional, though I have since discovered that some do exist. Soup for The Consumer by David Gadelkarim In a bid to understand the core of how humans derive meaning and emotion, The Consumer, a hollow cosmic entity, entraps humans within Its kitchen. They are tasked with but one thing: imbue the vat of soup before them with parts of their soul, and then serve it. The Consumer will provide emotions for its human chef to interpret, and the chef can only interpret it through inedible common objects. While the chef can resign at any time, the parts of their soul they offer to The Consumer can never go back to being hidden ever again. Tamagotchi Seance #3 by Nick Murray Tamagotchi Seance #3 is a series of web-connected memorial objects. Tiny monuments to the things we want to remember and to the things we want to be remembered for. The game is a digital/physical boundary piece. Participants are invited to play a small game to generate pieces to submit to the memorial. Objects change, the map grows, flowers spread. Very Hungry Caterpillar by Kira Guao A completely soft game controller inspired by the children’s book The Very Hungry Caterpillar. Players wear a caterpillar-shaped hand puppet to control a computer game. Pressing inside the soft fabric mouth allows the caterpillar to eat food that appears on screen. But not everything is good for it. Players must avoid unhealthy food and be careful not to bite too hard. Too much pressure or greed can destabilise the game. Built with e-textiles, conductive threads, and microcontrollers, the controller turns touch into playful interaction. it explores softness as both material and rule, combining competition with care, restraint, and embodied awareness. Online Events The Map & the Echo by Seth Kriebel 12th, 14th and 15th April at 8pm The Map and the Echo is a new addition in Seth Kriebel’s acclaimed series of interactive Exploration Games (including The Unbuilt Room and A House Repeated). Inspired by early text-adventure computer games, each performance is unique, shaped by your choices. Using simple instructions like ‘Go North’ or ‘Pick up the lamp’, work with your fellow explorers to overcome obstacles, navigating – and creating – an imagined world of secret maps and second chances. Voidspace's Strange Play runs from 13th to 19th April 2026. For more information, visit voidspacezine.com

From races across the city against the clock and inflatable structures with winding tunnels to expeditions into the darkest depths of Peru, here are our recommendations for the best family-friendly immersive experiences in London this Easter break... London has never been short on family-friendly activities. From world-class museums and zoos to West End shows and tourist attractions that cater to all ages, there are hundreds of options for a day out with the family across the city. Amongst them are a handful of standout immersive and interactive experiences that allow families to either become part of the story or get involved to a degree not possible elsewhere. Below are our recommendations for the top immersive experiences running in London this Easter break that will both engage and entertain the whole family... The Paddington Bear Experience Photo: Alex Brenner An immersive walk-through show spread out over 26,000 sq ft in the heart of Central London, The Paddington Bear Experience invites guests to step inside the world of Michael Bond's classic stories for the first time as preparations for the Marmalade Day celebrations are underway at Windsor Gardens. Guests will get hands-on with a series of tasks throughout the experience as they meet a cast of characters from the much-loved book series, including Mrs. Brown. There's a lovingly recreated version of the Brown's family home, complete with the blossom tree mural at the foot of their staircase, and an excursion to Peru where you help create Marmalade, amongst other interactive moments. Photo opportunities with Paddington are available at the conclusion of the experience, as well as a chance to buy your own Marmalade sandwiches. The show is directed by Tom Maller, whose previous work includes some of London's biggest immersive shows of recent years (Peaky Blinders: The Rise, Doctor Who: Time Fracture, Secret Cinema's Blade Runner, Romeo + Juliet, and Casino Royale). Photos: Alex Brenner Help Paddington and the Brown Family prepare for a very special occasion: the Marmalade Day Festival. Just like Paddington, you’ll begin your adventure in the hustle and bustle of Paddington Station, where you’ll meet the friendly Station Master and hop aboard our full-sized train carriage – make sure you aren’t late! Journey through the sights and sounds of London, all the way to the Brown’s house at No. 32 Windsor Gardens. Step inside the Brown’s famous tree-adorned hallway and explore multiple rooms in their home, then venture beyond as you’re transported to the magical jungle of Peru – all to help Paddington prepare for the biggest party Windsor Gardens has ever seen! Finish by celebeating the Marmalade Day Festival at Windsor Gardens with Paddington and his friends where you’ll dance to vibrant calypso music, play fairground games and eat & drink festival treats – most importantly, you can try Paddington’s favourite Marmalade sandwich! 📍 Waterloo 💰 From £158.00 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via paddingtonbearexperience.com Race Across The World: The Experience Image: Race Across The World - The Experience Race Across The World: The Experience, based on the hit BBC series, is the latest city-wide treasure hunt experiences from CityDays. While the TV series they're based on have competitors racing for 50-plus days across multiple countries with little more than a map, a GPS tracker, and several thousand pounds to pay for travel, lodging, and food, the two London-based races run anywhere from 2 to 4 hours and sees those taking part cover roughly 5km on foot through either the City of London, or the West End. Staples of the BBC series - including budget management and navigating without a map - have been carried over and make up the core experience, which feels like the closest adaptation of the TV series possible without requiring a passport or more than an afternoon of your time. The fast-paced format and sense of discovery built into Race Across The World: The Experience keep kids engaged throughout, and the focus placed on looking at the city differently means they're interacting with the streets and sights of London with a (hopefully) more considered view. Small details that you'd otherwise walk past without giving a second thought need to be studied, quiet backstreets and passageways that you never knew existed need to be explored, and with the clock ticking the entire time, there's a real sense of urgency throughout. Photo: Race Across The World: The Experience This high-stakes experience will offer players the chance to live out their Race Across the World dreams by navigating the streets of London, working as a team, outwitting their competitors, and unlocking hidden secrets of the city in an unforgettable race to the finish line! Just like in the show, Race Across The World: The Experience requires strategy, teamwork, and quick thinking, as players will be given a budget to manage as they race through the city. This budget can be spent on valuable clues to help navigate the next leg of the journey, giving players the freedom to decide how daring they want to be. It's a high-stakes race against the clock, where every decision counts and influences the race, but beware, each clue comes at a cost. 📍 Liverpool Street/West End 💰 From £130.00 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via feverup.com Luminarium: Myriad Photo: Architects of Air Created by the internationally acclaimed Architects of Air and world-renowned artist Alan Parkinson, Luminarium: Myriad, the monumental inflatable sculpture, will be run from Thursday 2nd until Monday 6th April at Woolwich Works, and offer families, friends and groups a magical opportunity to step together into a world shaped entirely by light, colour and architectural form. Visitors can wander through winding tunnels, soar beneath cavernous domes, and explore interconnected chambers full of radiant colour, created as natural light filters through translucent PVC walls. An ambient soundtrack gently accompanies the experience, adding to the calming atmosphere and creating a welcoming environment that encourages curiosity, play and exploration. Whether guests choose to discover every twist and turn as a group or find a quiet corner to sit, lie down, or reflect, each visit offers a personal journey of wonder and delight. Open during daylight hours and utilising only natural light, it is a transformative, immersive experience that has an energising effect on children and a calming effect on adults, transporting everyone into a luminous, organic environment insulated from the bustle of the city outside. Suitable for all ages, Luminarium: Myriad is the perfect option for a family day out, introducing children to artistic and cultural experiences in a playful, accessible and memorable setting. The structure is fully accessible to wheelchair users, and visitors are encouraged to wander freely at their own pace while soaking up the colour, sound and atmosphere. Photo: Architects of Air Step inside Luminarium, a spectacular walk-through installation that fills Woolwich Works with light, colour, and calm. Created by the world-renowned Architects of Air, this monumental inflatable structure invites visitors to slow down and explore at their own pace. Inside, winding pathways and soaring domes glow with radiant colour as daylight filters through the translucent fabric, creating an ever-changing, immersive experience. Luminarium is designed to be gentle, inclusive, and open to everyone. There’s no right route and no rush — just space to wander, look, and enjoy the atmosphere. Whether you’re visiting with family, friends, or taking a quiet moment for yourself, Luminarium offers a rare chance to experience art from the inside out. 📍 Woolwich 💰 From £28.00 (Family of 4) 🧒 Suitable for all ages 🕰️ 2nd-6th April 2026 🎟️ Book via woolwich.works Mundo Pixar Experience Photo: Luke Dyson Following appearances in Brazil, Mexico, Belgium and Spain, where it's welcomed over 3.2 million visitors, Mundo Pixar Experience has arrived in the UK. In this multi-sensory exhibition, fans of all ages have the chance to enter the universes of Pixar’s most iconic films. Visitors can shrink down to toy size in Andy’s Room from Toy Story, explore the Scare Floor from Monsters, Inc. with Mike and Sulley, race into Flo’s Café from Cars to meet Lightning McQueen, or soar through the skies with Carl Fredricksen from Up. They can also visit the Headquarters of Riley’s emotions from Inside Out 2, and journey from Coco's Land of the Living to the Land of the Dead. Beyond the immersive sets, guests can take part in a special Pixar Ball Treasure Hunt, searching for the famous yellow ball with a red star hidden throughout the exhibition - a playful nod to the beloved Easter egg that appears in many Pixar films. Photos: Luke Dyson Step into the vibrant world of Pixar like never before. Mundo Pixar Experience is a multi-sensory exhibition which offers fans of all ages a chance to enter the universes of Pixar’s most iconic films. Set in a purpose-built venue in Wembley Park, the exhibition will span more than 3,500 square metres, and will feature 14 Pixar universes, including over 25 sculptures, inviting guests to explore meticulously recreated environments from Toy Story, Monsters, Inc., Cars, Finding Nemo, Inside Out, Coco, Up, and many more fan favourites. Each space combines detailed set design, ambient music, and specially crafted scents to immerse visitors in Pixar’s most beloved stories. 📍 Wembley Park 💰 From £117.00 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via mundopixar.com Paradox Museum Photo: Paradox Museum Located just over the road from Harrods in Knightsbridge, Paradox Museum London invites families into a surreal playground of optical illusions and interactive rooms built to test their perceptions and spark creativity. With over 50 installations on offer, which have all been designed to blend science with imagination, it’s a tactile and highly-Instagrammable experience that's suitable for all ages and sure to delight kids. Some of the museum's most popular exhibits include Zero Gravity, which gives the illusion of floating in space, the Paradox Sofa, where guests legs and torso appear to be split in two, the Camouflage Room, and an upside-down version of a London Underground platform, in which it looks like guests are hanging from platform signs. Additionally, there's also a new Passport Safari Game, offering kids the chance to take part in a hands-on, scavenger-style adventure. Young explorers can follow the clues, complete the stamps, and solve playful puzzles as they navigate the museum’s most mind-bending rooms. The game will be available as an optional add-on for all visits throughout the summer. Photos: Paradox Museum The Paradox Museum is an innovative venue that combines the world of science, art and human perception. With over 50 amazing, paradox-inspired exhibits, Paradox Museum offers more mind-twisting, eye-tricking experiences than any other edutainment destination in the world! On this self-guided experience, you will learn everything about the exciting science behind paradoxes, have a ton of fun and take photos so spectacular that your friends will not believe they’re real. 📍 Knightsbridge 💰 From £86.00 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via feverup.com Bubble Planet Photo: Bubble Planet Enjoyed by over four million visitors worldwide, Bubble Planet was designed to awaken curiosity and reconnect audiences with a sense of childlike wonder, and unfolds across a series of visually striking, multi-sensory environments. The experience features ten themed rooms, which guide guests through surreal landscapes that blur the boundaries between dream and reality, including the Bubble Ocean - a vast expanse of bubbles designed to evoke calm and serenity - and the Infinity Room, where mirrors and shifting lights create the illusion of endless space. Lasting anywhere from 60 to 90 minutes, it's a fun-filled experience that's also incredibly Instagrammable. If you're looking to make the most of a trip to Wembley Park, Mundo Pixar Experience is next door, but if you're happy to travel across town you can also book a 'VIP Happiness Package' and secure tickets for both Bubble Planet and the VR-based Seven Wonders of the World in Shoreditch in one transaction with a 20% discount. Photos: Bubble Planet In this multi-sensory experience, visitors will travel through fantastical landscapes and into imaginary metaverses filled with unique optical illusions and photo opportunities. Upon entering this otherworldly planet, guests will be able to leave real-life at the door and embark on a journey that inspires them to reconnect with their emotions and bodily sensations, making astonishing discoveries along the way. The combination of colours, lasers, lights and bubbles, together with 360-degree projection technology and a unique virtual reality experience invites guests of all ages into a dream-like, escapist experience in the midst of the busy city. 📍 Wembley Park 💰 From £112.00 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via feverup.com Banksy Limitless Photo: Banksy Limitless Banksy Limitless offering long-term enthusiasts, collectors, art fans, and the curious alike the chance to experience the provocative and thought-provoking world of the British artist in a unique and immersive environment. More than an exhibition, Banksy Limitless is a cultural encounter where the raw power of street art meets the prestige of a gallery setting. The exhibiton includes installations from Banksy's iconic 2015 Weston-Super-Mare 'Dismaland' pop-up bemusement park like Cinderella's Carriage, large scale sculptures, certified prints of significant work including Flower Thrower and Kissing Coppers, original pieces from the Walled Off Hotel project in Bethlehem, as well as specially created works such as Prankadilly Circus, and an immersive holographic installation exclusive to the London edition. As well as being one of the largest single collections of original Banksy work ever assembled in one place, the exhibition highlights some of the technical aspects of his creative process, including meticulously reproduced pieces using his signature stencil technique. A mural installation, crafted by a renowned creative team, authentically brings the essence of street art into an indoor setting. Banksy’s work often relies on the impact of a specific site, and great efforts have been made to reproduce this feeling in a gallery environment. Both a trailblazer and innovator in the art world, admired by fans across the globe and celebrated for his unique vision, Banksy has become a cultural icon whose works reflect the moral and social dilemmas of today’s world. Banksy Limitless brings this vision to life, offering visitors an unprecedented opportunity to step inside the world of the elusive artist, experiencing the scale, context, and impact of his creations in a way that echoes his street roots. 📍 Knightsbridge 💰 From £75.32 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via feverup.com Cleopatra: The Experience Photo: Cleopatra - The Experience Featuring nine interactive galleries, Cleopatra: The Experience takes visitors on a captivating journey through Ancient Egypt as they uncover the secrets of Egypt’s last queen and explore her legacy, legend, love, lifestyle and beauty. Created by Madrid Artes Digitales (MAD) - the team behind hit experiences including Tutankhamun: The Immersive Exhibition, The Legend of the Titanic, and The Last Days of Pompeii - this is the latest of their must-see sensations to arrive in London. Over the past year alone, their shows have welcomed more than 420,000 visitors, wowing audiences with powerful storytelling and earning outstanding ratings of 4.6 out of 5* from over 22,000 reviews. With a striking blend of 22 real Egyptian artefacts, cinematic projection technology, a state-of-the-art hologram, Virtual Reality, a free-roaming Metaverse, interactive installations and more, the experience brings one of history’s most fascinating figures vividly to life in one of London's most ambitious large-scale exhibitions. Both educational and exhilarating in equal measure, Cleopatra: The Experience has been designed with children, families, culture lovers, technology enthusiasts and history fans in mind, to take visitors on an unforgettable journey into the world of one of history’s most iconic rulers. Photo: Cleopatra - The Experience Cleopatra: The Experience invites you on an incredible journey through the life and reign of Egypt’s last great queen. Showcasing real artefacts and using state-of-the-art immersive technologies, Cleopatra’s world unfolds step by step, revealing the intelligence, ambition, legacy and love that shaped her rise as one of history’s most iconic female leaders. From political mastery to cultural influence, this exhibition explores why Cleopatra remains a symbol of power and fascination centuries later. With outstanding visitor reviews from its world premiere in Madrid, this immersive experience offers a fresh and unforgettable way to connect with ancient history. 📍 Immerse LDN 💰 From £122.00 (Family of 4) 🧒 Suitable for all ages 🎟️ Book via feverup.com For more on London's best immersive shows (both family-friendly and not), check out our Current/Upcoming Listings page.

Photo: Cleopatra: The Experience The life of Cleopatra VII, the final ruler of Ptolemaic Egypt, has been mythologised and misrepresented more than most. She was said to be an astute leader who helped Egypt prosper during her reign, yet the narratives surrounding her in the aftermath of her death - largely at the hands of the Romans - recast her as something of a self-serving femme fatale willing to do anything to secure power. This portrayal was cemented by Shakespeare's Antony and Cleopatra and later reinforced by the 1963 epic Cleopatra, which further entrenched the image of her as a seductress. Over time, the truth of Cleopatra's life has become so tangled up with the myths that people’s perception of her sits somewhere in between. Now, some 2,000 years on from her death, the large-scale immersive exhibition Cleopatra: The Experience, which runs at Immerse LDN until 12th July 2026, attempts to explore both sides of Egypt's last Queen using a mix of 360-degree immersive projections, virtual reality, interactive screens and holograms alongside limited museum-like displays. The show's producers, Madrid Artes Digitales, have maintained a near-constant presence in London over the past year, having previously launched exhibitions on the Titanic, Tutankhamun and the destruction of Pompeii in quick succession. The company's approach to creating immersive exhibitions has clearly borne fruit, with several of them currently running across multiple locations around Europe alongside Cleopatra's London residency. Their success in the UK has proven that there's a real appetite for the kind of large-scale, tech-driven, educational experiences that aren't possible in traditional museum environments. Photo: Cleopatra: The Experience Cleopatra: The Experience's opening space features a large 'hologram' sequence charting the rise and fall of the Ptolemaic dynasty. Flying through nearly 300 years of royal lineage at a pace, the sequence moves from Ptolemy I through to Ptolemy XII with barely a second's thought before arriving at Cleopatra herself, first depicted as a child and then transitioning into adulthood. Acting as an introduction to the experience, this sequence provides a brief overview of the key moments in Cleopatra's life, from her strategic and romantic relationships with Julius Caesar and Mark Antony through to her defeat in the Battle of Actium and sets the stage for the topics the exhibition explores in the following rooms. From there, it's straight into the exhibition's engaging, if slightly abstract, 'metaverse' experience, which lets visitors step inside a selection of Cleopatra's memories through virtual reality. Within this free-roaming section, guests walk through virtual recreations of Alexandria's catacombs as a funeral takes place before travelling back even further in time to the Temple of Amun in the remote settlement of Siwa Oasis. Later, they witness both Alexander the Great's crowning as a pharaoh and Mark Antony inside his military tent during the Battle of Actium up close, alongside a vertigo-inducing sequence in which guests carefully tread on a floating stone pathway through the infinite void of space. The closing scene takes place on the balcony of Cleopatra's royal quarters, as she looks out over the city and ponders what awaits her. Photo: Cleopatra: The Experience Further into the exhibition, wall-mounted displays explore Cleopatra's relationships with Caesar and Antony, her association with the goddess Isis, and her portrayal in media and literature. Additional wall mounts further on in the exhibition interrogate a lot of the myths surrounding Cleopatra, from claims of her 'incomparable' beauty to rumours of bathing in donkey's milk and the widely repeated account of her death by cobra bite. While everything written on the dozen or so wall mounts throughout the exhibition is informative, more often than not, the wall mounts stand in isolation, with no artefacts, additional material or visual elements accompanying them. Photo: Cleopatra: The Experience The entirety of Cleopatra: The Experience's archaeological artefacts (a selection of 20+ items, including small bronze statues, glass mosaic fragments and wooden coffin masks) are confined to a single glass display case at the end of a long, largely empty room, which sadly leaves them feeling like an afterthought and not a prominent part of the exhibition. It's an unexpected shift in focus, given Madrid Artes Digitales' track record of including several rooms' worth of artefacts and replicas alongside the immersive and interactive elements in previous exhibitions, and it means a lot of the available space in Cleopatra: The Experience's non-immersive rooms are void of anything meaningful to engage with besides the wall-mounted text. Photo: Cleopatra: The Experience The final exhibition space ahead of the 360° immersive room has been designed to resemble Cleopatra's private chambers and contains an interactive map of Alexandria; several screens designed to look like mirrors, which detail the meaning behind individual elements of her crown, as well as her make-up, hairstyles, and perfume choices; and a three-metre-wide projection recreating the view from Cleopatra's balcony overlooking the Bay of Alexandria. The exhibition's centrepiece is the 360° projection room, which lies behind a curtain at the far end of Cleopatra's private chambers. In contrast to some of the small trinkets on display earlier in the exhibition, everything in this space is writ large. Standing 8 metres tall, the four walls and floor of the space display an ever-changing series of Instagram-worthy, cinematic animations on a 26-minute loop. Much like in MAD's previous exhibitions, the immersive projection room is by far the most impressive part of Cleopatra: The Experience and is the space visitors will likely spend most of their visit in. Broken up into ten chapters, the projections cover most of the ground depicted in the exhibition’s previous rooms and show everything from Cleopatra’s coronation in a lush waterfront location through to her first encounters with Julius Caesar and Mark Antony and her eventual suicide after the Battle of Actium. While our personal highlights were the two scenes which depict Caesar addressing the Senate ahead of being assassinated and the deadly waters on which the Battle of Actium was fought, we'd recommend staying in the space for a complete loop to get the full experience. The scale of the room's visuals is pretty stunning and truly engulfs your entire vision if you're sitting in the centre of the space. Photo: Cleopatra: The Experience The exhibition’s final room contains the second of Cleopatra's two virtual reality sequences. With visitors wearing headsets while seated on swivel chairs, they're free to look around as they witness the earthquake and flood that submerged Alexandria under water, the modern-day search for the city’s ruins, and the ritual in which Cleopatra is laid to rest inside the Temple of Isis. Those scared of snakes and spiders would do well to potentially skip this section, as they both get an extended period in the spotlight, but it’s otherwise a fairly subdued conclusion to the experience, which ends with the lid of Cleopatra's tomb being sealed shut. While this section stands up pretty well against the seated VR sections on offer at MAD’s previous exhibitions, the exhibition's reordering of its usual elements (metaverse sequence, VR sequence, immersive projection room, etc.) makes the poor resolution of these VR headsets feel even worse than normal following the supersized, high-resolution visuals of the 360° projection room that preceded it. Photo: Cleopatra: The Experience With Cleopatra: The Experience, Madrid Artes Digitales has once again delivered the kind of exhibition that's simply not possible in a traditional museum setting. Anchored by a striking 360° centrepiece and engaging metaverse experience, the exhibition offers visitors an engaging and unique way to learn about history, even if the museum-like staples that usually complement these high-tech moments are largely absent this time around. ★★★ [Tickets gifted in exchange for an honest review] Cleopatra: The Experience runs at Immerse LDN near Customs House station until 12th July 2026. Tickets are priced from £25.00 for adults and £20.00 for children. To find out more and book tickets, visit feverup.com

Photo: Architects of Air This spring, London will welcome an extraordinary immersive art experience as Luminarium: Myriad opens in the capital for the very first time at London’s best-connected cultural venue, Woolwich Works. Created by the internationally acclaimed Architects of Air and world-renowned artist Alan Parkinson, the monumental inflatable sculpture will be open during Easter from Thursday 2nd April until Monday 6th April, offering families, friends and groups a magical opportunity to step together into a world shaped entirely by light, colour and architectural form. Luminarium: Myriad is a feast for the senses and an adventure for all ages. Visitors can wander through winding tunnels, soar beneath cavernous domes, and explore interconnected chambers full of radiant colour, created as natural light filters through translucent PVC walls. An ambient soundtrack gently accompanies the experience, adding to the calming atmosphere and creating a welcoming environment that encourages curiosity, play and exploration. Whether guests choose to discover every twist and turn as a group or find a quiet corner to sit, lie down, or reflect, each visit offers a personal journey of wonder and delight. Open during daylight hours and utilising only natural light, it is a transformative, immersive experience that has an energising effect on children and a calming effect on adults, transporting everyone into a luminous, organic environment insulated from the bustle of the city outside. Photo: Architects of Air Suitable for all ages, Luminarium: Myriad is the perfect option for a family day out, introducing children to artistic and cultural experiences in a playful, accessible and memorable setting. The structure is fully accessible to wheelchair users, and visitors are encouraged to wander freely at their own pace while soaking up the colour, sound and atmosphere. Inspired by points of light in the night sky, the installation evokes infinity, movement, and discovery, making each journey through Myriad unique. Visits last approximately twenty to thirty minutes, with every step revealing new visual surprises, with natural daylight creating constantly shifting patterns that transform the space in unexpected ways. The design of Luminarium: Myriad combines engineering precision with artistic imagination. Drawing on the grandeur of Islamic and Gothic cathedrals as well as modern architecture, the structure incorporates three-dimensional geometric volumes such as dodecahedra and shapes reminiscent of soap bubbles, plant forms, and cell structures – sparking curiosity and imagination in younger visitors while captivating adults. Photo: Architects of Air Working like a modern form of stained glass, the translucent coloured PVC filters daylight while silver PVC elements create subtle reflective hues, producing a space that is alive with colour and light. Handcrafted by a dedicated team of five over four months, this monumental, half-football-pitch-sized sculpture is an organic, ephemeral environment designed to inspire awe, conversation and shared moments of discovery Whether visitors are seeking inspiration, quality time together, a moment of calm, or a sense of childlike wonder, Myriad promises an unforgettable journey through colour and space – and with additional specialty programming within the Luminarium to be announced soon, there will be even more ways for visitors to explore, play, and interact with this magical world. Luminarium: Myriad runs at Woolwich Works from 2nd to 6th April. Tickets are priced from £8.00 per person, with a Family ticket available for £28.00. For more information and to book tickets, visit woolwich.works

Image: Studio DJL & Dale Croft Greenwich Peninsula is set to become the long-term home of Secret Cinema, as the global immersive entertainment company lays out plans for a proposed flagship venue in the heart of the riverside neighbourhood, opening in late 2026. Already home to The O2 and Design District, and attracting more than 24 million visitors annually, Greenwich Peninsula continues to evolve as a riverside destination for culture and entertainment. Secret Cinema’s plans for a long-term home for up to 10 years at Greenwich Peninsula represent the next step in the Peninsula’s continued growth. For over 18 years, Secret Cinema has produced some of the world's most iconic immersive experiences and reignited fandom for more than 1.5 million people worldwide. With more than 60 immersive experiences in temporary locations from London to Shanghai, now, subject to planning permission, there is an opportunity to deliver a long-term, fit-for-purpose premises at Greenwich Peninsula. In its new flagship home in one of London’s most iconic riverside locations, Secret Cinema will transport fans beyond the big screen to live out their favourite movies and cultural moments with the delivery of a bespoke world-class venue. From the production company behind the sold-out smash hit, Grease: The Immersive Movie Musical, and the pioneers of transformative experiences including Star Wars: The Empire Strikes Back, Dirty Dancing, Stranger Things and Casino Royale, Secret Cinema brings high-end, fully immersive, living world experiences synonymous with the entertainment world's greatest titles to life for audiences to enjoy. Image: Studio DJL & Dale Croft A short walk from North Greenwich station and set along the Thames, the plans would see the venue become a destination for immersive theatrical experiences, attracting Londoners and visitors from across the UK and beyond. Surrounded by a thriving 150-acre riverside neighbourhood – including Canteen Food Hall & Bar, Firepit Art Gallery, a free public art trail and Design District – Secret Cinema will join the Peninsula’s growing cultural and creative offer. The Peninsula is also home to more than 6,000 residents, 180 businesses, bars, cafes and restaurants, and London's only rooftop basketball court. Greenwich Peninsula is being developed by Knight Dragon, in partnership with the Greater London Authority. Merritt Baer, Artistic Director & Producer of Secret Cinema, said: Greenwich Peninsula is the perfect location for Secret Cinema’s long-term flagship home. We are committed to bringing world-class immersive experiences to London audiences and are thrilled to work with local businesses and partners to make this happen. Secret Cinema is a curator of lasting memories and epic experiences, trailblazing the future of entertainment. We are looking forward to breaking ground on this venue and continuing to bring entertainment's most loved stories to life. Laura Flanagan, Director, Greenwich Peninsula, said: Secret Cinema’s plans for a long-term flagship home at Greenwich Peninsula reflect the momentum of this riverside neighbourhood as a place to experience world-class culture and entertainment. We’re proud to see another ambitious, globally recognised brand choose Greenwich Peninsula for its next chapter and look forward to the energy it will bring to the neighbourhood.

Image: Secret Cinema This summer, Secret Cinema will welcome audiences back to Rydell High once more with the return of the critically acclaimed, smash hit Grease: The Immersive Movie Musical, following its sold-out run in 2025. The production will open at Evolution London in Battersea Park for a strictly limited run from 22nd July to 13th September 2026. Photo: Luke Dyson Each performance of Grease: The Immersive Movie Musical is a two-and-a-half-hour spectacular. From ‘Summer Nights' to ‘Greased Lightnin'' to ‘We Go Together', every iconic song from the beloved 1978 Paramount Pictures film comes to life as a knock-out cast and live band perform against multiple movie screens. Photo: Luke Dyson From the moment they enter this modern live experience, audiences step into the world of the movie, exploring the iconic locations including Frosty Palace, The Autoshop, and The Carnival and immerse themselves in school spirit, training with Coach Calhoun, cheering on the T-Birds, taking part in a choir practice and even tasting 1950s American diner-style delights. Photo: Luke Dyson The innovative production is brought to life by the multi-award-winning creative team of Matthew Costain (Director); Tom Rogers (Set Designer); Jennifer Weber (Choreographer); Howard Hudson (Lighting Designer); Gareth Fry (Sound Designer) and Ian William Galloway (Video Designer). Due to popular demand, summer 2026 will feature even more themed Roam and Return seating, allowing audiences to explore the experience and return to dedicated seating at Frosty Diner or The Drive-In. Photo: Danny Kaan Grease: The Immersive Movie Musical is produced by Secret Cinema and TodayTix (Merritt Baer, Artistic Director and Co-Founder; Ben Hosford, Executive Producer). Secret Cinema's Grease: The Immersive Movie Musical will run from 21st July to 13th September at Evolution London in Battersea Park. General Admission tickets will be priced from £49 per person, and Roam & Return tickets will be priced from £59 per person. To sign up for pre-sale access, visit greasetheimmersivemoviemusical.com