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

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

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

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

Photo: Ludovic des Cognets Marking the 20th birthday of Dante or Die, the company’s hugely successful immersive hit I Do returns for a brand-new tour across the UK - reimagined for a new decade of love, secrets, and celebration. It will run at the London Malmaison from 20th January to 8th February 2026 as part of Barbican's Scene Change season, before heading to sister Malmaison hotels in Reading (11th to 14th February) and Manchester Deansgate (18th to 22nd February). Photo: Ludovic des Cognets Set in a working hotel, I Do invites audiences to step inside six rooms where the final moments before a wedding unfold in parallel, each a jigsaw piece revealing a different view of the same tense moment in time. The best man’s speech is collapsing under pressure, the bride is torn between nerves and expectation, and family secrets ripple through the corridors. Split into small groups, audiences move between rooms, uncovering fragments of a tangled family story as they become voyeurs to a series of intimate, overlapping stories; from old flames to hidden pregnancy tests. Every glance, touch, and whispered secret counts. Photo: Ludovic des Cognets Created & conceived by Daphna Attias and Terry O’Donovan, with text by Chloë Moss, I Do is a celebration of the beautiful mess of human connection - an intricate portrait of love and fear, told through Dante or Die’s signature blend of intimacy, detail, and cinematic theatricality. The full cast is Geoff Atwell (Gordon), Alice Brittain (Lizzy), Fred Fergus (Nick), Manish Gandhi (Joe), Dauda Ladejobi (Tunde), Carla Langley (Georgina), Jonathan McGuinnes (David), Johanne Murdock (Helen),Tessie Orange-Turner (Abigail), Terry O’Donovan / Rowena Le Poer Trench (The Cleaner) and Fiona Watson (Eileen). Photo: Ludovic des Cognets Dante or Die's I Do runs at London Malmaison near Barbican station from 20th January to 8th February 2026. Tickets are priced from £35.00. To find out more and book tickets, visit barbican.org.uk.

Photo: The Lost Estate Opening March 2026 at The Lost Estate’s West London home, Chat Noir! is the latest creation from The Lost Estate, the company behind The Great Christmas Feast and 58th Street; celebrated for transforming live performance into fully realised worlds. Here, audiences will be transported to bohemian Montmartre of the 1890s, inside the legendary Le Chat Noir – the original Parisian cabaret club that launched a cultural revolution and gave birth to the modern nightlife we still chase today. Photo: The Lost Estate At the centre of the story stands Rodolphe Salis – the real-life proprietor of Le Chat Noir and architect of its most notorious cabarets – as he prepares his final, and most ambitious, creation: a feverish celebration of love and madness. Played by the ‘Dandy King of Cabaret’, Joe Morrose, Salis is a man aflame with ideas, careering between anarchy and art, chasing one last moment of transcendence before the curtain falls. Tonight he has summoned the greatest artists of his age — the magician Buatier De Kolta (performed by acclaimed magician Neil Kelso), dancer Cléo de Mérode, mime Paul LeGrand (performed by the virtuosic Pi the Mime), and chanteuse Yvette Guilbert — to create one final, audacious revue, a night of love, madness, and French art from across the ages. Together they conjure a variety show of reckless brilliance, accompanied by the club’s house band, Les Enfants Vagabondes. Photo: The Lost Estate A wild troupe of bohemian musicians, led by the young Erik Satie, takes their place at the heart of Chat Noir!. One of the most eccentric and influential figures of the Parisian avant-garde, audiences join Satie at the height of his career as the real-life resident pianist of the original Le Chat Noir – a composer whose music would go on to define a generation of French modernism. Known as Les Enfants Vagabondes, the ensemble performs new arrangements of French late-Romantic masterpieces by The Lost Estate’s composer-in-residence, Steffan Rees. Their ragtag quintet - piano, violin, cello, accordion and percussion - reimagines Debussy’s Clair de Lune, Bizet’s Carmen, Berlioz’s Symphonie Fantastique and Saint-Saëns’s Danse Macabre for a night that blurs the line between elegance and delirium. As the evening unfolds, their performances spill from stage to floor, musicians roaming between tables while a spellbinding sequence of shadow puppetry transforms light and smoke into living art. It is a world where sound, movement and illusion entwine, and where cabaret first sparked into a global phenomenon. Photo: The Lost Estate As night falls, guests slip into a world of after-dark delights. Inside, they become part of the story as they join the writers, illustrators, poets and musicians who made Montmartre hum – the artists, revolutionaries and mad romantics who lived by night and dined between poems, paintings and half-finished manifestos. The experience evokes the secret suppers of Paris’s wayward aristocrats, where indulgence is an art form and pleasure a quiet rebellion. Guests dine as they did - not with aristocratic formality but with appetite and abandon. The tables are laden with the classic haute cuisine dishes that gave birth to modern gastronomy: Coq au Vin, Crème Brûlée, champagne, absinthe, Parisian cocktails and an extensive old-world wine list. The Lost Estate Executive Chef Ashley Clarke and Head of Beverages Ilya Demenkov have created a feast of butter, brilliance and bohemia, served beneath flickering lamplight. Photo: The Lost Estate This is time travel by velvet and smoke - a living, breathing story where music, theatre, design and hospitality become a single work of art. This extraordinary immersive world is created by The Lost Estate’s Head of Design Thomas Kirk Shannon, lighting designer Mike Gunning (Alice’s Adventures Underground, Drowned Man, Grace Jones) and couture by Susan Kulkarni (Secret Cinema, Come Alive!). The Lost Estate are fast becoming the leader in immersive live arts experiences, crafting worlds that blur the lines between stage and reality and offer Londoners something rare: a night that feels like it could change history - a night out, a century in the making. Photo: The Lost Estate The world of Chat Noir! is designed for surrender. Guests dress in Vintage Parisian style - silks, velvets, waistcoats and smoky eyes - and cross a threshold where phones are forbidden and time loses its grip. Somewhere between dinner and dream, the city outside disappears, and the cabaret begins. Speaking on the experience, William Kunhardt, the Co-Founder of The Lost Estate, comments: Every experience by The Lost Estate begins the same way – an obsession with a moment in time when art, hospitality, and visionary people collided to create an inflection point in culture. Chat Noir! is the expression of our latest obsession: the bohemian subculture of 1890s Paris, the dawning of French Haute Cuisine, and amidst it all, the impresario Rodolphe Salis with his masterpiece, Le Chat Noir. It was the world’s first cabaret – a night-club where great French artists gathered to share and experiment, where every layer of Parisian society came to be entertained, provoked, and liberated. Dining, drinking, and artistic freedom became one. A movement was born that would change global culture forever. What a moment to bring back to life – to give people the chance to travel back in time and step inside this extraordinary nocturnal world, indulge utterly and live out one of the most explosive, daring and hedonistic moments in European cultural history. Photo: The Lost Estate The Lost Estate's Chat Noir! opens on 24th March 2026 in West Kensington. Tickets are priced from £124.85 and can be booked via chatnoirlondon.com

Photo: Lottie Amor Groundbreaking immersive theatre company Punchdrunk have revealed first look images of their new project LANDER 23, which is running at their home base in Woolwich until 29th March 2026. A live action video game, LANDER 23 sees the immersive theatre pioneers collide with the world of gaming as never before, as audiences become players in a multiplayer stealth game. Photo: Lottie Amor LANDER 23 splits players into two squads - Command (Drivers) and Ground Team (Fields). As the Fields navigate the alien landscape, players rely solely on the voice and guidance of their Drivers, stationed aboard the ship. In the spirit of sustainability and accountability, the company have repurposed the extraordinary world of Troy from The Burnt City - reimagined for this new narrative. Photo: Lottie Amor LANDER 23's full description is as follows: The Lander Division of the Centre for Astrobiology is responsible for exploring the outer realms of the galaxy. No division goes further or deeper into the unknown. Tasked with discovering uncharted territories, exploring the outermost reaches and bringing back valuable data to the mothership. A week ago, the crew of Lander 23 vanished while harvesting a new and valuable energy source. A distress signal, then silence. You are the next crew in. Your mission is clear – continue their job without the same happening to you. Time is not on your side. The environment is treacherous. There are hidden dangers lurking in the shadows. Do not deviate from the mission. Photo: Lottie Amor The experience has been conceived, directed & designed by Felix Barrett, with Kath Duggan and Joel Scott co-directing. LANDER 23's game systems have been created by Meaning Machine, who create 'premium, author-driven AI characters that can play meaningful roles in the stories and objectives of their human creators'. Photo: Lottie Amor Founded in 2000 by Felix Barrett, Punchdrunk has pioneered a game-changing form of theatre which places the audience at the very heart of the action. Listed amongst the 50 most influential artists of the last 50 years (Sky Arts, 2022) alongside Bowie, Sir Steve McQueen and Vivienne Westwood, Punchdrunk disrupts the theatrical norm, creating worlds in which audiences can rediscover the childlike excitement of exploring the unknown. Its iconic 'mask' shows, which redefined the genre of immersive experiences, have been cited amongst the 40 creative moments that changed culture (Creative Review), and have found phenomenal success across the globe, with record-breaking productions established in the US, UK and China. Sleep No More in New York played to sell out audiences for 14 years from 2011, and in Shanghai the show has been running since 2016, making it the longest running show in the city’s history. A new staging of Sleep No More opened in Seoul last summer. The Drowned Man: A Hollywood Fable broke the National Theatre’s box office records when it went on sale in 2013. Punchdrunk's 2022 London production, The Burnt City, became the company's longest-running show in its home city, coinciding with the opening of its first permanent venue at One Cartridge Place in Woolwich. Photo: Lottie Amor In 2024, Viola’s Room debuted in Woolwich, marking a shift from Punchdrunk's signature mask performances. This intimate, barefoot sensory experience distilled two decades of the company's immersive expertise, using binaural sound to create a deeply personal journey. It premiered At The Shed in New York in June 2025. Punchdrunk’s past theatrical works include: Faust (in collaboration with the National Theatre), Tunnel 228 (in collaboration with The Old Vic), The Masque of the Red Death (with Battersea Arts Centre), It Felt Like A Kiss (with Adam Curtis and Damon Albarn, Manchester International Festival), The Duchess of Malfi (with ENO), Sleep No More (London, Boston, New York, Shanghai), The Crash of the Elysium (Manchester International Festival), The Drowned Man: A Hollywood Fable (with the National Theatre), The Burnt City, and Viola’s Room. Photo: Lottie Amor LANDER 23 is running at One Cartridge Place, Woolwich, until 10th May 2026. Tickets are priced from £38.75 and can be purchased via punchdrunk.com

Photo: Fever Bubble Planet will open at Depot Mayfield in Manchester this February after previously having launched in more than ten global cities, including New York, Los Angeles, Milan and London. Set within one of Manchester’s most exciting cultural destinations, Bubble Planet finds a fitting home at Depot Mayfield - a former railway depot transformed into a vibrant hub for arts, entertainment, and large-scale experiences. Photo: Fever Co-produced by family entertainment producer Exhibition Hub and Fever, the leading platform for discovering live entertainment and cultural experiences, Bubble Planet invites visitors to step into a joyful, dreamlike world where bubbles take centre stage. Enjoyed by over four million visitors worldwide, the experience was designed to awaken curiosity and reconnect audiences with a sense of childlike wonder, unfolding across a series of visually striking, multi-sensory environments. As visitors journey through the experience, they are immersed in a bubbly universe where colours, lights, textures and illusions blend seamlessly. From giant balloons to floating soap bubbles, each space offers a new perspective, encouraging exploration and playful discovery. Carefully designed to engage all the senses, Bubble Planet transforms imagination into a tangible, interactive adventure. Photo: Fever Ten themed rooms guide guests through surreal landscapes that blur the boundaries between dream and reality. Highlights include 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. Underwater Bubbles transports visitors into a hypnotic aquatic world, recreating the magic and mystery of deep-sea exploration. Younger visitors can unleash their creativity in the Bubble Dome, a play area designed for hands-on fun, whilst tech fans can embark on an exhilarating virtual reality journey that adds an extra layer of adventure to the experience. Photo: Fever Speaking on Bubble Planet's Manchester opening, Hamza El Azhar, CEO of Exhibition Hub, comments: We are delighted to be bringing Bubble Planet to Manchester rfor the very first time alongside the team at Fever, and to be part of a city with such a strong and celebrated cultural identity. We look forward to welcoming everyone to experience a joyful, immersive adventure that sparks curiosity and wonder for all ages Bubble Planet opens at Depot Mayfield this February. To learn more and sign up to the waitlist, visit feverup.com

As part of our Year In Review series, we spoke to creators, writers and performers from across the immersive industry, including UNCLE BARRY, Phantom Peak, Voidspace, Sleepwalk, and Bridge Command to find out their favourite immersive and interactive work from the last twelve months. Undersigned By Yannick Trapman-O'Brien July to August 2025 at COLAB Tower and Edinburgh Fringe Photo: Lyra Levin A deeply personal, revelatory and moving experience, delivered with a tremendous amount of care and skill. It's unusual to find a practitioner who can bring us out to the bleeding edge of theatricality while holding us with safety and trust. Yannick managed this and created something authentic, surprising and intensely meaningful as a result. Katy Naylor, Voidspace Handle with Care By Ontroerend Goed November 2025 at Battersea Arts Centre Photo: Ans Brys It starts with a box and an audience and ends with us setting fire to the box's contents. In between, there is mayhem and reflection and a burgeoning sense of connection with those around you and everyone who has attended this show. There are no actors, just a list of instructions which lead us from scene to scene with the ever-playful Ontroerend Goed forcing us from our seats and into the thick of the action (should we wish). It's anti-theatre at its best, an interactive masterpiece that evokes surprise and emotional responses at every twist and turn. Franco Milazzo, Critic at Broadway World The Shop for Mortals and All Fools By Vinicius Salles February to October 2025 at Stanley Arts and COLAB Tower Photo: James Lawson My greatest surprise of 2025 came from a show I had become almost embarrassingly attached to, The Shop for Mortals and All Fools. It was a fully scripted piece with a clear narrative that invited the audience to witness a tragic moment in the life of a woman adrift inside her own memories, caught in a liminal space between past and present, somewhere between gods and mortals. I truly believed I understood it from every angle. After all, I had written and directed it, and surely that meant I knew exactly what London was about to experience. I had convinced myself that once I create an immersive work, it remains in place, fixed, stable, obedient, perfectly behaved. Fool of me. I could not have been more wrong. One month into the run, I watched the show. Kate Webster and Lily Ockwell had taken it gently but confidently by the hand and transformed it into something entirely their own. What I witnessed was not simply interpretation. It was a shift in the very fabric of the event. Delicate and dangerous. The piece had developed its own pulse and no longer belonged to me. Watching the actors and audience meet inside that suspended world reminded me of Antonin Artaud and his belief that theatre becomes most alive when it generates a charge that passes between performers and spectators. He argued that this charge can loosen the boundaries of ordinary perception and create a fragile reality where instinct and presence matter more than text. That was exactly what unfolded before my eyes. The room trembled with that shared tension, that delicate sense that everyone was stepping into a reality held together by breath and attention. At that moment, the words no longer felt like mine. My presence no longer felt required. And truly, in the spirit of Artaud, that is the best place a director can ever hope to be, standing back and witnessing a living event that thrives because it escapes control. Vinicius Salles Uncle Barry's Birthday Party By UNCLE BARRY February to October 2025 at Theatre Deli and COLAB Tower Photo: UNCLE BARRY This year was a big one for the Voidspace's ability to support new work, and I was thrilled to welcome Uncle Barry to this year's Voidspace Live, after their debut at February's Side/Step festival. A deceptively simple exercise in collaborative world-building, that left us all with a collective grin and many fond memories of everybody's favourite Uncle. Side/Step and Voidspace were together a bit of a generative powerhouse in our platforming of new interactive theatre this year: I'm looking forward to seeing what 2026 brings 🖤 Katy Naylor, Voidspace Creature By Peter Broughton September to November 2025 at COLAB Tower Photo: Peter Broughton/Creature There is truly nothing like watching a performance made for one audience member, and Creature is no exception. The immersive experience is like nothing I've ever seen before, with the sole audience member relinquishing all control and sitting in a wheelchair that is moved by members of the cast throughout the production. Broughton has made a beautiful adaptation of Frankenstein with a seamless cast and an incredible puppet! Kat Mokrynski, Critic at Broadway World and Little Lark of London Sleep No More By Punchdrunk/Ms. Jackson July 2025 to January 2026 at The McKithan Hotel, Seoul Photo: Punchdrunk/Ms. Jackson I was lucky enough to travel in Korea this year where I managed to see Punchdrunk/Ms.Jackson’s Sleep No More. The new staging expands on what previous editions of the show have built. With a bigger building and expanded set, it would’ve been easy to lose the heart and soul of the show, however I found that the magic of Sleep No More was definitely not lost. Fans of the show will love this new location and with an undeniably talented cast; the McKithan will not disappoint. Sebastian Huang, Sleepwalk Hollow Knight: Silksong By Team Cherry Image: Team Cherry My favourite immersive experience of the year is Silksong, the follow-up to Hollow Knight by Team Cherry, the Australian indie game developer. It’s genuinely incredible: complex, beautiful, engrossing, frustrating - just like seeking funding for capital projects in a declining Western world, where hope is dead yet I live endless and alone. In terms of live experiences, the immersive attraction I empirically most emotionally engaged with was Phantom Peak. My favourite part of Phantom Peak is “payroll” - a game that comes around every 4 weeks, with a flourish like no other. It’s just like that magic heist film, Now You See Me, Now You Don’t, except I am performing a job upon myself. I guess in this metaphor I am a little bit Isla Fisher with a gentle Jesse Eisenberg peppering, like salt on steak, or powdered sugar also on steak (not recommended). By the way, I have a lot of concerns about that movie: it clearly only makes narrative sense once you realise these are not stage magicians but a coven of witches, possessed with powers beyond the ken of man. I am no medieval peasant, but I for one think that immolation is too good for them and their smug posturing shows a dalliance with sinister powers that echo in the great beyond. Am I advocating for Jesse Eisenberg’s character J. Daniel Atlas to be burnt at the stake, flames lambent, his sequinned heels glittering against the night? No. Will I weep for him when his soul is cleansed by fire? No, coz his soul gets to go to a better place, duhhh. Oh! I also went to You Me Bum Bum Train! Yeah, man, that was really good. 12/10. Nick Moran, Creative Director, Phantom Peak ETERNAL By DARKFIELD April 2025 at Shoreditch Town Hall Photo: Katie Edwards This was a first-time physical mount of a show originally conceived as an at-home audio experience during Lockdown. The gaping maw of a row of bare iron beds in the dark and the growl of a low voice in your ear... the effects stay with you. Shelley Snyder, Immersive Actor at Bridge Command and The Key of Dreams Masquerade By Diane Paulus July 2025 to March 2026 at 218 West 57th, New York Photo: Luis Suarez From the minute audience members step into the show, they are immersed in the world of the Paris Opera House. This isn't just an adaptation of the musical everyone knows and loves - there are references to not only the original novel, but the films too, as well as some new interpretations exclusive to this production. The performers and staff members do a fantastic job of working together to create a seamless experience from beginning to end. The price tag may be high, but it is one of the best immersive experiences one can find right now! Kat Mokrynski, Critic at Broadway World and Little Lark of London What We Must By Aaron James Oliver October to November 2025 at COLAB Tower Photo: Angelina Cage I am a passionate supporter of smaller scale immersive productions, and I always will be. I strongly believe they are the breeding ground of exciting new ideas for the industry, and challenge the rest of the industry to push their boundaries and offer more intimacy, more agency, and more interactivity. What We Must is a great example of all of these tenets. Aaron James Oliver offers a truly collaborative experience, and brings their own unique storytelling elements to shape out their world - a genuinely different approach that strays from the more tried and true methods of engaging audiences. It's really exciting to see someone try a vastly different approach, and I hope they keep experimenting and bringing their unique style to the industry. Danny Romeo, Experience Director and Experience Designer at Phantom Peak, Founding Director of Ludens Theatre Company Alibi: Dead Air By Dean Rogers and Tom Black October 2025 at Theatre Deli Image: Dean Rodgers/Tom Black Jubensha is a relatively new game format to the UK; solving a murder mystery is far more fun when you're one of the suspects, with piles of evidence to review...or tamper with. Shelley Snyder, Immersive Actor at Bridge Command and The Key of Dreams R.O.S.E By Sharon Eyal, Gai Behar, Young and Call Super July 2025 at Sadler's Wells East Photo: Johan Persson This show was both a great night out and a great lesson for me in how atmosphere, sound, and lighting, as opposed to text, can do so much of the immersion in an experience! When I first walked into the space, it was a pitch black, enormous room filled with hundreds of people. I felt like I was swimming in the darkest depths of water. The world was created heavily externally, and overlapped with a personal, familiar favourite setting - a nightclub. We were pulled in and out of being left to usual clubbing behaviour by interspersed dance performances, which always left us wanting more. At the very end of the night, it felt like the wall between the performers, the audience, and the atmosphere of the space was at its thinnest. We were guided by their movements to form a circle around them, and as the music dropped, the evening's built-up tension was released, letting us free to dance as one beating heart. It was beautiful! Mia Foster, UNCLE BARRY Sadler’s Wells was turned into a nightclub on a Sunday night at 7pm. The episodic show alternated between near-blackout stretches of dancing to music by Call Super and Sharon Eyal’s dancers cutting through the space with their otherworldly movements and performances. Each time the dancers appeared, the tension ramped up, until it finally exploded into an ecstatic dance battle. By the end, joining in felt totally irresistible. Ariana Aragon, UNCLE BARRY The Alchemist By Sherlocked December 2022 to September 2026 at Beurs van Berlage, Amsterdam Photo: Sherlocked The best escape room I've ever done. Exquisite build. In the final moments, I felt like I was actually in a movie. A movie with special effects, but they weren't special effects; it was like it was real, and I was taking part in some sort of Merlin-oriented, magical, super-sci-fi, amazing adventure movie. It was breathtaking. James Wallman, CEO, World Experience Organization We Should Have Never Walked On The Moon By (LA)HORDE September 2025 at Southbank Centre Photo: We Never Should Have Walked On The Moon What made this three-hour experience work was the freedom to drift around the Southbank. Being able to step in and out of episodes at will reinforced the show’s ideas on fragmented attention and Gen Z internet culture. My own movement, boredom, and curiosity became part of the choreography. I was completely hooked by the performers’ bodies that offered hope amidst the bleak, gritty, and oddly beautiful aesthetic. Ariana Aragon, UNCLE BARRY DATA-COSM [n°1] By Ryoji Ikeda October 2025 to February 2026 at 180 Studios Photo: 180 Studios/Alice Lubbock The best piece of digital immersive art, sound and visual that I've probably ever experienced. At times, you felt like you were floating through space above the planet, and other times, wandering into microscopic areas. It was electric, mesmerising, engrossing, brilliant fun. James Wallman, CEO, World Experience Organization Sophie's Surprise Party By Three Legged Race Productions November to December 2025 at Underbelly Boulevard Soho Photo: Roger Robinson This immersive 90s circus/cabaret party returned to Underbelly as exciting as it was 18 months ago. After one (un)lucky audience member is plucked to play Sophie for the night, there's all the tunes you might expect, party games to get involved with, and plenty of nods to films of the era while an expert crew of circus/cabaret artistes put on an innovative and decidedly adult show. Franco Milazzo, Critic at Broadway World Ha Ha Ha Ha Ha Ha Ha By Julia Masli August to October 2025 at Edinburgh Fringe and Soho Theatre Photo: Austin Ruffer This show inspired me loads! Through the heartwarming and simple concept of asking audience members their problems and solving them with the room, Julia Masli listens and responds to realities that exist for people beyond the theatre walls. As an audience member, it was wonderful to be a part of the playful journey where these problems are explored, transformed, and solved. I was left with a sense of creative possibility and a feeling of empowerment, having been in a space that is supported for people to be bold in their vulnerability. Throughout the show, there is a feeling of precarity, yet we are kept safe at all times whilst drifting between realities with Julia Masli’s otherworldly calming presence. I laughed a lot. The mechanics are fascinating to witness as a maker, and as an audience member, there is such a joy in the show's spirit that allows space for a whole spectrum of emotions. After an evening of assisting in the orchestration of a new reality in which we help solve the problems of people sitting around us, for me, the show tipped into ‘immersive’ when leaving the venue. As you walk out, your eyes catch with fellow audience members, and more conversation than usual is struck up amongst us. There seemed to be a mist of hope that followed you out after the show, as the possibility of what the world could look like if we listened to and helped one another more often hovered in the air. Mia Foster, UNCLE BARRY Mind Control Disco By But Why? Theatre October 2025 at IEN Summit/Dial Arch, Woolwich Image: But Why? Theatre Although I couldn’t see the whole thing, I was able to see experience an extract from But Why?’s Mind Control Disco at the IEN Summit. The show is built upon an incredibly fun concept, taking the form of a club night where each audience member wears headphones and is directed by an ominous voice, connecting people through music and group interactions. I thought the piece did a wonderful job of bringing the audience out of their shells, allowing us to fully embrace the humour and silliness of the show and make genuine connections through music and dance. I would highly recommend Mind Control Disco to anyone looking for a fun, lighthearted night out as well as veterans of the immersive scene. Sebastian Huang, Sleepwalk Oscar at the Crown By Shira Milikowsky, Mark Mauriello and Andrew Barret Cox May to November 2025 at The Crown, Tottenham Court Road Photo: Luke Dyson Admittedly, I didn't get to see as many immersive shows as I'd like to this year. I really appreciated Oscar at the Crown's take on an immersive musical. While I think the format needs some rethinking to engage audiences deeper, I don't think anyone has really nailed the balance between proscenium-style musical performances and audience interaction. But Oscar was exciting and high-energy, and did make some good attempts at bringing the audience into the world of the show. The design was colorful and fun, the songs were exciting and high energy, and I think the show made some distinctive steps in the right direction towards a fully immersive musical. Danny Romeo, Experience Director and Experience Designer at Phantom Peak, Founding Director of Ludens Theatre Company COLAB Tower 22 Southwark Bridge Road, London Photo: COLAB Theatre 2025 was a year that swept me away. If anything, it felt a bit like 1, 2, 3, 4, 5 once I caught a fish alive, 6, 7, 8, 9, 10 then I let it go again. Everything seemed to slip past me before I had time to hold on to it. Yet there were so many intriguing pieces happening out there, and so many compelling ideas about what immersive experiences might become. And honestly, whether they were good or bad or gloriously confusing in between did not matter as much as the sheer exercise of exploring new ways of experiencing performance. And for that, applause is due. Claps to Colab Theatre for making all of this possible right in their backyard, in their saloons of old tiles and slightly questionable gold paint. There are not many organisations in the UK that truly act as catalysts for experimentation and innovation, places where independent artists can settle in and plough their craft. A mother ship of creativity. For me, they were the real show in town this year. And I am already looking forward to what might unfold there in 2026, perhaps something as spectacular as a galactic war. Vinicius Salles

We recap our picks for 2025's best immersive shows as part of our Year In Review series. #5 - Bacchanalia (Sleepwalk) Hoxton Hall, March to April 2025 Photo: Akil Wilson Sleepwalk's 2025 staging of Bacchanalia was one of the most anticipated shows of the year, with the show's initial runs at Crypt in Bethnal Green garnering rave reviews and multiple sold-out runs. Thankfully, their updated staging of the Greek tragedy managed to exceed the already high expectations placed upon it, thanks to a hugely talented cast, an expanded storyline, and a space much better suited to housing such an epic story. Those looking to scratch that Punchdrunk itch found themselves well looked after, too, with plenty of sprinting up and down stairwells, numerous world-class performers, and, of course, additional one-on-one interactions for a lucky few. #4 - Phantom Peak (The League of Adventure) Canada Water, January to December 2025 Photo: Alistair Veryard Phantom Peak's ongoing narrative continued to outshine nearly every other immersive show out there in 2025 with another exceptional year of seasonal updates. Engaging and accessible for first-time visitors, while being deeply rewarding for long-time tourists, the show's ever-changing line-up of genre-bending trails form the backbone of a one-of-a-kind experience that isn't being replicated anywhere else. In years to come, it'll be looked back on as one of the most ambitous pieces of immersive work ever produced. #3 - Creature (Peter Broughton) COLAB Tower, September to November 2025 Photo: Creature/Peter Broughton Peter Broughton's Creature delivered an experience unlike anything else we've ever seen. Fusing puppetry with immersive elements and binaural audio, it's a wildly cinematic thrill ride that offers more jaw-dropping moments in its 20-minute runtime than most shows achieve in multiple hours. It's 2025's best immersive debut, and we can't wait to see what the future holds for it. #2 - The Key of Dreams (Lemon Difficult) Treowen, Wales, January to December 2025 Photo: Lemon Difficult This 24-hour-long immersive experience, created by Lemon Difficult, is rightfully regarded as one of the county’s best. Thanks to a dense narrative, a huge amount of audience agency, and terrific performances from a cast that stays in character for upwards of 12 hours at a time, attendees find themselves slipping deeper and deeper into the show’s world with every passing hour. By nightfall, the intensity ramps up to an almost unbearable level, and every decision, regardless of whether it’s big or small, carries huge weight and even bigger consequences. A must-do for immersive theatre fans everywhere. #1 - Undersigned (Yannick Trapman-O'Brien) COLAB Tower, July 2025 Photo: Lyra Levin After several years of touring the United States, Yannick Trapman-O'Brien's Undersigned made its long-awaited UK debut in 2025 with a short run in London before moving to the Edinburgh Fringe. Using little more than a blindfold, a candle and a notepad, this intimate piece of immersive theatre for an audience of one deftly balances being both emotionally devastating and wonderfully uplifting at the same time. The show has the potential to be life-changing, and for us at least, it has fundamentally altered how we see ourselves. For coverage of all the latest immersive experiences coming to London in 2026, follow us on Instagram, X and BlueSky.

An exclusive look inside Phantom Peak's latest summer offering, Starlit Summer. Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Photo: Alistair Veryard Phantom Peak's Starlit Summer runs until 15th September 2024 in Canada Water. To find out more about the show and to book tickets, visit phantompeak.com

Step Into Room 101 with these first look photos from 1984 :A Unique Theatre Experience at Hackney Town Hall Photo: Maggie Jupe Pure Emotion's site-specific production of 1984: A Unique Theatre Experience began previews earlier this week at Hackney Town Hall. Directed by Jack Reardon, the show stars Dominic Carter (O’Brien), Joe Anderson (Winston), and Neetika Knight (Julia). Jack Reardon, the director of 1984 at Hackney Town Hall, said the following about the show's cast: The cast assembled are truly extraordinary. It is testament to our casting director Fran Cattaneo. Each person has brought such unique insights and flavour to their characters. Dominic Carter’s wealth of experience on stage and screen has made him both a formidable O’Brien and invaluable rehearsal room leader. Joe Anderson’s years oexperience on screen is incredibly captured in this production given the utilisation of live cameras and his experience has evolved the production with innovative ideas. Neetika Knight is a generational talent. Her natural presence on stage and instinctive response to the work has been awe inspiring. Together, we have created an extraordinary principle cast, supported by the extraordinary ensemble cast. Everyone plays an essential role in creating this one of a kind production of 1984. Adam Taub, the executive producer of Pure Expression, said: I am so excited at the talent of the creative team we have brought together for this new production, and the standard of this cast is just the cherry on top.. It is a brand new team and the show is being completely reimagined with astonishing AV, lighting set and sound design - Hackney Town Hall remains the perfect venue for the Ministry of Truth. Photo: Maggie Jupe Photo: Maggie Jupe Photo: Maggie Jupe Photo: Maggie Jupe Photo: Maggie Jupe Photo: Maggie Jupe Photo: Maggie Jupe Photo: Maggie Jupe Immersive 1984: A Unique Theatre Experience runs from 1st October 2024 to 22nd December 2024 at Hackney Town Hall. Tickets are priced from £24.50. To find out more and buy tickets, visit immersive1984.com