Photo: The Legend of the Titanic: The Immersive Experience This summer, The Legend of the Titanic: The Immersive Exhibition will open at London’s Dock X, Canada Water, on 25th July 2025, offering a rare, all-encompassing journey into the story of the world’s most iconic ship. Following highly successful openings in Madrid and Munich, Madrid Artes Digitales, the team behind Tutankhamun: The Immersive Exhibition, and FKP Scorpio Entertainment bring this groundbreaking exhibition and timeless story to London. With breathtaking projections, interactive installations, and detailed recreations, this 120-minute experience will offer visitors the chance to step back in time to 1912 and experience the building of the ship at Belfast’s Harland & Wolff shipyard, then journey across the Atlantic whilst exploring the ship’s grand cabins and elegant corridors in a multi-sensory experience that captures the grandeur and enduring legacy of Britain’s most famous ocean liner. Photo: The Legend of the Titanic: The Immersive Experience Upon arrival at the Dock X venue, visitors will enter Dockside Boarding, a state-of-the-art Augmented Reality reconstruction of Southampton Harbour, receive their boarding passes and gather for a virtual greeting from Captain Smith himself (available in 5 languages), who acts as a guide throughout the exhibition. As visitors walk along the pier, the sounds of seagulls and steam engines fill the room, setting the tone as guests prepare to board the iconic ship. This initial Augmented Reality experience offers a deeper dive into the untold stories behind the voyage and selected artefacts, bringing history to life through dynamic and interactive storytelling. As the exhibition progresses, visitors will walk through the humble third-class corridors before entering the main hall, where information panels provide essential historical social context curated by exhibition experts and historians. From there, guests step into a first-class lounge, which highlights the opulence and extravagance that made first-class travel aboard the Titanic such an unparalleled experience. On display are a fantastic selection of original artefacts (including china, silverware and personal items as well as props from the Titanic movie) alongside replicas of costumes and much more. Following that, visitors enter the iceberg projection mapping room, which brings the towering mass of ice to life and showcases the chilling iceberg that changed history. Next, guests will arrive at one of the exhibition’s standout features: the breathtaking Virtual Reality (VR) Room “Until the Orchestra fell silent!”, where visitors will experience a special tribute to Titanic’s famous orchestra. In an emotionally charged sequence, guests will be immersed in a newly composed piece by René Merkelbach, inspired by "Nearer, My God, to Thee," believed to have been the final song played aboard the ship. Through VR, this intimate moment reimagines the classical pieces once heard aboard the Titanic in a powerful, moving performance. Photo: The Legend of the Titanic: The Immersive Experience Thereafter, visitors will enter a huge immersive showroom with 360° floor-to-ceiling projections that will submerge them in the depths of the Titanic. Using state-of-the-art technology, the projections and deeply emotional storytelling provide an unprecedented perspective on the ship’s journey, from its construction and voyage to its tragic sinking on the night of 14th-15th April 1912. The 360° projections, featuring stunning visual quality and emotional narration, focus particularly on bringing the story of the Callaghan family to life - a fictional father and daughter who were passengers on board. As guests leave the immersive showroom, they will come across information panels with meticulously prepared background information about the ship, its passengers, the myths, legends and details on survivors and deceased, all of which are written by the exhibition curators and historians to provide the educational part of the experience. Photo: The Legend of the Titanic: The Immersive Experience Taking the experience even further, the exhibition introduces an interactive Metaverse journey developed with VR Coaster, which incorporates interactive elements and 5D sensory experiences, such as simulated smells and a realistic reconstruction of the different classes and areas of the ship. Visitors will dive into the depths of the ocean to discover the Titanic in its current state on the ocean floor, until, as if on a journey through time, the ship comes to life and allows the visitor to visit all of its rooms one by one. Every deck, cabin, and lounge is open for exploration, offering guests the chance to interact with life on board across all three classes. Designed for all ages, families can enjoy a child-friendly activity room where kids can draw their own Titanic illustrations at a creative station and play an interactive puzzle quiz based on the events leading to the ship’s fate. Completed drawings are digitally projected onto a large screen, becoming part of the exhibition. Visitors can also use advanced AI and facial recognition technology to transform into 1912-era passengers, virtually dressed in historically accurate attire for a memorable, personal connection to the experience. Photos: The Legend of the Titanic: The Immersive Experience The Legend of the Titanic: The Immersive Exhibition will open at Dock X in Canada Water from 25th July 2025. Tickets are priced from £24.00 for adults and £16.00 for children. For more information, and to book tickets, visit feverup.com

The final performance of The Burnt City - the large-scale immersive production depicting the fall of Troy, has been confirmed to be Sunday 24th September 2023 by Punchdrunk. The show originally opened in March 2022, and has had over 200,000 visitors since opening. It was the first large-scale Punchdrunk show to be staged in London since 2013's The Drowned Man. Felix Barrett, the Creative Director on Punchdrunk said: Creating The Burnt City in the midst of a pandemic was one of the most incredible feats our team has achieved. We couldn’t be prouder of this show and everyone who brought our world of gods and mortals to life. The Burnt City has propelled us forward, and we want to keep that momentum, making the most of our new home in Woolwich. It’s the first time we have had a long-term space to call our own, so these extraordinary buildings are the perfect place to showcase our ideas quickly without needing to wait years for the right venue to come along. We’re fairly sure that The Burnt City will be the last new mask show the company makes, and what comes next will be different and unlike anything we have done before. We cannot wait to unleash these new ideas, and in the meantime, we hope that everyone will make the most of our precious last months of The Burnt City! Tickets are on sale now for all dates, including the final performance, at punchdrunk.com

Immersive theatre company Punchdrunk have today confirmed the date of their final 'party' event prior to the closure of The Burnt City in Woolwich on the 24th September 2023. The Last Rite, the last 'Divine Rites' party, will act as a final send-off to the groundbreaking immersive production. Taking place on Sunday 17th September, The Last Rite has been billed as including pop-up performances by the cast and extended performing family, guest DJs, and a return of The Walk of Terror - the house band from Punchdrunk's 2013 show The Drowned Man, who will be performing in Peep, the speakeasy bar within the set of The Burnt City. Punchdrunk released the following, confirming The Last Rite... All good things must come to a glorious end. But with all endings come new beginnings. Join us for one night only as we party into eternity as the city burns around us. Dance amongst the shades and celebrate all that was and all that will be with pop-up performances, DJs, bars and debauchery. Send The Burnt City once more into oblivion and set your souls on fire. See you at the end of the world. Opening in March 2022, the production has sold over 200,000 tickets. By the time it closes, the show will be the longest-running mask show that the company has presented in London. Over 600 people have worked on the show, making it the largest project in Punchdrunk’s history. The epic retelling of the end of the Trojan War, set between the neon-drenched backstreets of downtown Troy and the menacing but opulent shadow of Greece, is played out across two vast warehouse buildings. Part of the old Woolwich Arsenal, these buildings provide Punchdrunk with its first permanent home in London. Punchdrunk is keen to keep pushing the boundaries of the company’s craft and make use of the unique space the buildings provide in different ways. News of future projects will follow later this year. Tickets are available via www.theburntcity.com/tickets

Punchdrunk have today confirmed plans for a series of masterclasses and workshops themed around the companies approach to creating site-specific experiences, as well as intimate walking tours of The Burnt City's set for those eager to revisit the venue after its closure in September 2023. These experiences will be open to anyone who wants a deeper insight into the process and approach our creative team takes to unlock the possibilities of a space, create intricate design, build different environments with lighting and sound, and translate source texts into a language of physical performance. For those eager to visit and learn more about the world of Troy, our extensive set tours with knowledgeable guides are also available. You could be an artist looking to develop your own practice or are just eager to explore the world we created within The Burnt City. Details of the tours, masterclasses and workshops are below, as well as booking links: The Burnt City Set Tour Explore the world of Troy with these intimate walking tours. Our knowledgeable guides will lead you through the space, including 1:1 spaces, and reveal stories behind how this unique world was brought to life. Here you can ask questions about the building process and, if you wish, share your own experiences of The Burnt City. When: Various dates & times, 27 Nov-15 Dec. (90 minutes) Where: Punchdrunk Labs Tickets: £45, local residents £25 (includes a post tour beverage). Access patron tickets include a complimentary companion ticket. Book here. Who: Ages 11+ (under 16s accompanied by an adult). Anyone with an interest in The Burnt City, Punchdrunk, Greek mythology or immersive world-building. Performance Workshop Delve into the work and performance practice of Punchdrunk, the ‘world’s leading immersive theatre company’ (GQ Magazine). Join a member of The Burnt City’s company as they explore the unique process for performers, developed by Felix Barrett and Maxine Doyle, which has inspired and crafted Punchdrunk’s immersive work. Learn how to create genre-defying experiences through the blending of classical texts, contemporary dance and physical performance. When: Thursday 14 December, 10am-4pm (6 hours, including breaks) Where: Punchdrunk Labs Tickets: £150, local residents £85. Book here. Who: Ages 16+ with an interest in performance. No experience necessary. Design Workshop Step behind the scenes in this interactive design workshop where we demonstrate how we bring this multi-sensory world to life. Led by a member of The Burnt City’s design team, you’ll experience the evolution process involved in prop-making through building your own keepsake, inspired by the world of The Burnt City. When: Wednesday 6 December, 10am-1pm or 2-5pm (three hours) Where: Punchdrunk Labs Tickets: £75, local residents £45. Book here. Who: Ages 16+ with an interest in immersive design and prop-making. No experience necessary. Production Management Workshop Learn how to transform abandoned spaces into the fantastic worlds Punchdrunk plunges its audience into. This Production Management workshop provides you with insight into the Production department’s role in building an immersive, site-specific experience at Punchdrunk. Through dynamic activities and exercises on the set of The Burnt City, our team will give you the tools to think and problem solve creatively, as well as give an overview of how to deliver a project that breaks the mould of theatrical experience. When: Wednesday 29 November, 10am-1pm (three hours) Where: Punchdrunk Labs Tickets: £75, local residents £45. Book here. Who: Ages 16+ with an interest in production management, lighting and sound. No experience necessary. Immersive Storytelling Masterclass with Felix Barrett An Immersive Storytelling Masterclass with Felix Barrett MBE. Punchdrunk is the spark that ignited the immersive genre, introducing mainstream audiences to this now hugely successful form. In this masterclass, the company’s BAFTA-nominated founder, Felix Barrett, offers an introduction into the techniques behind his creative process. From learning how to analyse a text, translating it into the physical space and breaking from traditional models of storytelling, this is an opportunity to understand the foundations to creating immersive shows – giving you the tools to push the boundaries in your own creative work. When: Tuesday 28 November, 10am-2pm (four hours) Where: Punchdrunk Labs Tickets: £350, local residents £195. Book here. Who: Creatives and mid-career professionals who wish to apply the insight gained through this masterclass to their own professional career. Immersive World-Building Masterclass with Stephen Dobbie An Immersive World-Building Masterclass with Stephen Dobbie. The Burnt City’s Sound Designer Stephen Dobbie shares his creative process, and explores the highly collaborative role sound plays within building the world and evoking feeling in Punchdrunk’s work. In this masterclass, you will learn to appreciate the particular details and textures of sound design, and how it is used as a mode of storytelling through a unique exploration of The Burnt City. This is an opportunity to both deepen your understanding of collaborative process and sound design, and unlock how the key tool of listening can elevate your own creative practice. When: Friday 8 December, 10am-2pm (four hours) Where: Punchdrunk Labs Tickets: £350, £195 for local residents. Book here. Who: Creatives and mid-career professionals who wish to apply the insight gained through this masterclass to their own professional career.

Image: Secret Cinema Ahead of Grease: The Immersive Movie Musical opening at Battersea’s Evolution, London on 1st August 2025, double Tony Award-nominated choreographer Jennifer Weber has been in the UK workshopping the all-important movement of the show, blending iconic steps with hip-hop and a fresh flair for Secret Cinema’s newest production, which is presented in partnership with TodayTix. Jennifer received both ‘Best Choreography’ Tony Award nominations in the 2022-2023 Broadway season for her work on & Juliet and KPOP, both of which opened within a week of each other. With Jennifer's roots in hip-hop, the choreography for Grease: The Immersive Movie Musical blends the iconic with the contemporary. Each performance of Grease: The Immersive Movie Musical will be a two-and-a-half-hour spectacular which blurs the line between screen and reality, and for the very first time, the entire film is brought to life all around you with actors and immersive elements seamlessly blending with the on-screen action. Step into the ultimate director’s cut and live at the very heart of Grease as screens play the fan-favourite film whilst a 30-strong cast and live band bring to life all of the songs from the film’s hit soundtrack including ‘You’re The One That I Want’, ‘Beauty School Dropout’, ‘Greased Lightnin’, ‘Look At Me I’m Sandra Dee’, ‘Summer Nights’, and ‘We Go Together,’ fusing the film and its iconic moments with a modern live-action experience. From the moment you enter Rydell High, you are invited to join all the action – follow your favourite characters, cheer on the T-Birds, share secrets with the Pink Ladies, learn to hand jive, join choir practice, get a taste of 1950s American diner-inspired delights and visit the fun fair as dazzling live performances and sensational dance numbers enthrall ahead of the sensational collective finale. The production will also feature iconic locations from Grease, including Frosty’s Palace, The Beauty School, The Carnival, The Gym, The Autoshop and La Cafury Beauty School. Image: Secret Cinema Grease: The Immersive Movie Musical is being produced by a multi-award-winning creative team with both West End and Broadway credits, including Matthew Costain (Director); Tom Rogers (Set Designer); Jennifer Weber (Choreographer); Howard Hudson (Lighting Designer); Gareth Fry (Sound Designer) and Ian William Galloway (Video Designer). The 2025 production marks the first of three consecutive summer events from Secret Cinema, at Evolution London, their most central London venue to date. Future productions based on other iconic titles for 2026 & 2027 will be announced later in the year. Secret Cinema last staged an immersive version of Grease in Summer 2023 at Birmingham NEC with Grease: The Live Experience. You can read our review of that show below. Grease: The Immersive Movie Musical will run from 1st August to 7th September 2025 at Evolution London in Battersea Park. For more info and to get tickets, visit greasetheimmersivemoviemusical.com

Ahead of Pure Expression's site-specific staging of 1984 returning to Hackney Town Hall next month, Immersive Rumours sat down with director Jack Reardon to discuss his plans for the show and how this iteration of the show drastically differs from the 2023 version. Immersive Rumours: Hi Jack. Thanks for speaking with us today. Do you mind telling us a bit about your history of directing and how that led you to becoming involved in 1984: A Unique Theatre Experience? Jack Reardon: So I'm originally from a very small town in Ireland called Clonmel in Tipperary. I trained and did a Master's at The Lir Academy, and then spent the next eight years there in Dublin. I was really fortunate with the companies I got to work with and had an amazing experience immediately working at scale. One of my first jobs was on Let the Right One In, which John Tiffany originally directed. It was the West End production that came over to Dublin, which immediately showed me what theatre was capable of doing. I feel very fortunate for that because I think particularly young artists come into the industry, and they have to go through the fringe scene. Great credit to it, but I was very lucky to get to work in those big houses and see what working at scale looked like. I tried to bring that experience into my own work, and while I still did fringe theatre in tandem with it, I found a cohort of people in Ireland with whom I got to create work at scale over a couple of different summers at home in Tipperary. What started out as all of us having maybe €3,000 to pay a bit to people, with Mam cooking for us for a few weeks in the summer led to us getting one of the biggest awards in Ireland, which is called the Open Call award. That resulted in a cast of 100 people where we were outside doing site-specific, huge spectacle theatre. That then brought me to London about 2 and a half years ago. I've been very lucky and fortunate here with the people I've gotten to meet and the advice I've been given. I think London is incredible at saying 'Come in, have a cup of tea, have a chat, and we'll point you in the right direction' which brought me to 1984. It was the Young Vic who suggested me to Maddie [Wilson, Producer] and Adam [Taub, Executive Producer] to touch base with because of a conversation I had with them where I talked about my experience. I think that's what's amazing about this city, people are afraid of it, and rightfully so sometimes, but when London's good to you, it's very good. IR: You’ve had experience devising immersive/site specific work before with Overlook - a show that was set to explore military life inside a former army barracks. Can you tell us a bit about the experience of working on that show and how ultimately the COVID-19 pandemic cut it short? JR: Overlook still breaks my heart today... we were due to create this immersive show with the Irish Defence Forces. We were a week away from going to the barracks in Kilkenny to train with the Defence Forces for a few days, then we got an email that said 'Hi everybody. We're a little bit nervous about this virus thing, so we're going to delay by a week.' Fast forward a couple of months; the world's locked down and the show was pulled. So much of the pre-production that went into that was incredible for both the work I'm doing in 1984 and indeed a lot of other shows I've done. The term site-specific is great, but I became more interested in the idea of site-responsive. How do you go into a space and allow it to be comparative to production, rather than just going in and slapping any old show up and onto it? You have to let that space tell its own story. So I think for 1984, when audiences step into that world, just the architecture alone of Hackney Town Hall, you walk in those doors and everyone goes, 'Oh, OK, yeah' and you feel it. That's design that you couldn't buy; you couldn't design it. The aura of that space is tangible. When I did Overlook, that in part became From Out the Land with a lot of the research that we did over the next few years, which was also in the barracks but now outside, end-on theatre. The biggest thing was, how does the ground literally speak to the production, and how does it feed into it? How does it make an audience exist much more lively and freely in that world? IR: Hackney Town Hall would be an impressive venue for any show, but for something like 1984 it feels like a perfect fit for the Ministry of Truth with its striking architecture and period feel. How much of the decision making of what's going on in the show is in response to the venue, and how much is trying to get the venue to fit around the show? JR: There's always a bit of a give-and-take. I think where Hackney Town Hall gives, it gives limitlessly. The upstairs council chamber room, for example, every time we brought creatives into it, everyone has just gone, 'Well, we're just leaving this alone. You don't need to do anything to it'. Its regalness, authority, and purpose are so tangible. Ruth [Badila], our incredible designer, said 'We would spend a fortune and come nowhere close to designing this.' It's a gift to a designer and to a production. On the flip side of that, when you're downstairs in the atrium, our production still has to tell a story. How do we make this space into an observation centre that can be inside, outside, in a secret bedroom? How can it also be a torture room? How can it be Room 101? Hackney Town Hall atrium is a beautiful space. Thankfully, it's not a torture chamber. So how do you use it when it gives, and then how do you be creative with making that work? Thankfully, the incredible design team that are on board with this show, I'm so fortunate that we got them all to join us. The ideas that we have, the innovation - I don't think I've seen it personally in an immersive setting before. There are a whole lot of tricks and twists from a design perspective to make that building into what we need it to be. It's a show that's definitely for all the senses; it's going to spark some interesting responses. IR: This iteration of 1984 Immersive has been reworked from the 2023 version of the show. Can you tell us a bit about how it’s different and how those changes came about? JR: Full respect to the previous iterations of Adam's script, but I think there was almost too much respect given to what a perceived production of 1984 might be and might look like. Maybe it was too faithful to the novel. When I came on board, the thing that I was most interested in was, Why now? Why do 1984 today? I think my production of 1984 is a production for today's audience. It speaks to us now as much as it does honour Orwell's 1940s novel. I think the biggest change among many other things is that it's a completely different production. It's not blue boiler suits. It's not strictly coming in and just watching a couple of scenes play out. It's much more intricate in bringing design into it and bringing audiences on this journey where I think, frighteningly, we can see ourselves in it, or at least we can see our countries and governments in it. I think people will be able to find a lot of touchstones to this production that feel much more now than it did previously. We could have just done what happened last year, but I think credit goes to Adam and Maddie, who wanted to evolve because they know what it can be. It will feel very different from previous iterations, but hopefully in a much more exciting way. It's a show that's definitely for all the senses; it's going to spark some interesting responses. At all times in our production, even when characters believe they have found a nest of solitude and a private corner, they are constantly being filmed and broadcast to the audience. IR: What aspects of Orwell's original novel were you most excited to explore when you first came on board? JR: I think that one of the biggest aspects that really appealed to me was making an audience feel complicit and how easy it is to be complicit in these things. You look on social media or regular media and find yourself going, 'What am I doing to fix that?' I think 1984 is great at showing a society in which you can't do anything. Your literal thoughts are policed to prevent you from acting out. I think so often we see so much happening in our world, but we find it hard to get involved. Don't get me wrong, people are doing incredible things the world over in contrast to that, but I think it's petrifying to see how these regimes get into power. In our world today, the rise of the far right is quite scary. 1984, as a novel and as a play says, yes, it is, but this is how it happens and this is how they do it. That's really interesting, exciting, and terrifying, but also insightful within our production to see how that happens and maybe how much you play a part in that as an audience member. IR: There's also an increased amount of AV elements being used in your version of the show. Can you tell us more about the impact that'll have on the show? JR: So the big thing for me, both from the original novel and from Adam's script, is this idea of surveillance. The phrase Orwellian has become part of our vernacular, but when you actually think about what that means... right now I'm in this room and there's a CCTV camera in the corner. There's a webcam looking back at me. There are three cameras on my phone. We're constantly surrounded by them. The more and more research I did into current political systems, everything we see is because someone has a camera in your face at all times. I became really interested in this idea of surveillance and live cameras. Alongside Dan Light, our incredible AV designer, we're working out how that comes into it. At all times in our production, even when characters believe they have found a nest of solitude and a private corner, they are constantly being filmed and broadcast to the audience. We've got an incredible statement wall that we're going to use in a very exciting way with our live AV, but it all comes back to that idea of surveillance from the novel, from this script, and from our world today. How do you feel when even your most intimate conversations are being picked up on and broadcast to the world? IR: As we're speaking today you're midway through rehearsals for the show. How has that process been so far? Once you're working alongside the cast, how much of what you had planned changes once everyone is in the same room? JR: Our first two weeks were with our three principal actors, playing Winston, Julia, and O'Brien. They're the major voices in many of the scenes, so we figured out what the play was, and when Adam the writer came to see a run-through of that, I can't remember what his comment was, but he said, 'Maybe think about something else happening at that moment' and I went, 'Oh, Adam, there's another play on top of this play once we bring in the ensemble and cameras and equipment into it'. I think he was very excitedly blown away by the scale of what we were trying to create. This week has been bringing ensemble into that, and in short, a week ago we had this amazing torture scene. Now we have an amazing torture scene with three live cameras and five additional bodies. I'm not giving anything away, but we're doing some interesting things. Everything gets enhanced in these two weeks. In terms of what we plan versus what happens in the room, the greatest thing for me in working with actors is the creativity. Actors are incredible creatures in how they can make something work. If there's a line that's sticking for you, an actor comes in with their own interpretation, and you go, 'That's exactly what it is.' It's been their input into it, both the three principles and our incredible ensemble, of not how we've changed things, but how we've evolved things, we've made it better. To my creative team, I always say, 'Your genius is better than my genius'. I believe that if we share ideas, they will grow and become better, and everyone is there for a reason. Everyone has been incredible in bringing their own ideas, innovation, creativity, and genius into the room to enhance the production further. Immersive 1984: A Unique Theatre Experience runs from 1 October 2024 to 22 December 2024 at Hackney Town Hall. Tickets are priced from £24.50. To find out more and buy tickets, visit immersive1984.com

1984: A Unique Theatre Experience returns to London later this year for a strictly limited 12-week run at Hackney Town Hall. George Orwell’s iconic dystopian novel is being reimagined by director Jack Reardon (Artistic Director of Stagecraft, one of Ireland’s largest and leading youth theatres), with a script adapted from George Orwell’s novel by Adam Taub. The show is being produced by Pure Expression, a site-specific theatre company that reimagines classic stories in unique environments. They've previously worked with institutions such as the Grant Museum of Zoology, the Jewish Museum London and Manchester City Library. 1984: A Unique Theatre Experience last ran at Hackney Town Hall in 2023 between October and December. This updated version of the experience will expand upon the 2023 version of the show, with new AV elements and a new cast. The roles of O'Brien, Julia and Winston were previously played by Jude Akuwudike, Kit Reeve and Declan Rodgers. Adam Taub, the Executive Producer of Pure Expression had this to say about the shows return: This is a new iteration of the show and far more ambitious. We have a brand new cast and creative team that have created a bold new vision for the show. There will be innovative digital mapping, video projection and AV work from creators who have recently worked in the West End, including the Haymarket’s The Picture of Dorian Gray. This production of 1984 is more visceral and more challenging for the audience. Why do we continually return to 1984? Because it has never lost its relevance. Because its warning of a dystopian future is one that we can all too easily imagine today. Jack Reardon, the director of 1984: A Unique Theatre Experience said the following: Open your computer, search the news, scroll through Instagram, post on Twitter - what has the algorithm decided is best for you today? Is it real? Does it matter? Once you believe it to be true, isn't that what counts? It doesn't take much to equate Orwell's 1984 to our own 2024. Whether it's news coverage, the constant awareness of phone, web or surveillance cameras or the increasing volatility of global politics.1984 remains as iconic today as when it was first published, only now we don't have to look far to imagine Orwell's dystopian world. But it's not all doom and gloom. When Adam invited me to be the director for the return, I immediately looked forward to inviting audiences into Hackney Town Hall and into a new world of ‘vigilance, eternal vigilance’. This production aims to give audiences an insight into what surveillance truly means, using the latest techniques in AV technology in an entirely original and innovative way. This is a site-specific, multimedia approach to the text, colliding Orwell’s world with our very own. The creative team that Adam and I have put together want to take the text to extraordinary new dimensions. The show will be lit by Ben Jacobs, winner of the 2022 Offie award for Best Lighting Designer with Salome, with Video and AV from Dan Light, whose video design was lauded in Sarah Snook’s West End performance of The Picture of Dorian Gray. Munotida Chinyanga, sound designer and Ruth Badila, set and props designer, complete the creative team. 1984: A Unique Theatre Experience runs from 1 October 2024 to 22 December 2024 at Hackney Town Hall. Tickets are priced from £24.50. To find out more and buy tickets, visit immersive1984.com

An immersive experience based on the life of Elvis Presley is set to open in London later this year. Produced by Layered Reality - creators of Jeff Wayne's The War of The Worlds: The Immersive Experience and The Gunpowder Plot - will debut Elvis Evolution in 2025 at a Central London location. Photo: Elvis Presley Enterprises LLC While the real-life Elvis never performed on stage in the UK, the show will feature a concert experience where a life-sized digital Elvis will perform some of his biggest hits. It'll be preceded by a journey through his life - from Graceland, to New York and Los Angeles, before heading to Las Vegas - where he took up a seven-year residency between 1969 and 1976. Layered Reality will bring Elvis back through AI and holographic projection, as well as augmented reality, live theatre and multi-sensory effects. To aid the creation of the show, the company have been given access to thousands of Elvis’s personal photos and hours of his home video archive to create new AI Elvis performances that have never been seen before. Photo: Elvis Presley Enterprises LLC Founder and CEO of Layered Reality Andrew McGuinness had this to say on the upcoming experience... Elvis Evolution is a next-generation tribute to the musical legend that is Elvis Presley. Elvis maintains superstar status globally and people around the world no longer want to sit there and passively receive entertainment – they want to be a part of it. It’ll be a memory-making experience that will be a bucket list item for Elvis fans and admirers around the world; people can step into the world of Elvis, walk in his shoes and celebrate his extraordinary musical legacy. The experience will also feature an Elvis-themed bar and restaurant on site, with live music, DJs and performances. Set to debut in London, Elvis Evolution will later open in multiple cities around the world including Las Vegas, Tokyo and Berlin. Photos: Elvis Presley Enterprises LLC To find out more about the experience, and to get presale access before the general sale, visit layeredreality.com/elvis Stay up to date on this and everything else immersive in London by following us on Instagram or X.

Vegetables, a new immersive show for audiences of up to 13 people per performance is set to open at a secret location in Clerkenwell this June. Produced by Muddled Marauders, the show is set to run from 8th to 23rd June. The show's description is as follows: Clerkenwell Bio Botanics is inviting guests for a product showcase at their secret underground research centre. Dr Angela Haas has built a machine that can fix you in ways you didn’t think you could be fixed.. follow this link to be apply to be one of our lucky trialists. To attend, audience members must apply via clerkenwell-bio-botanics.co.uk The Arts Council England-funded show is directed and written by Nathan Ess and edited by Dan Wye (Seayonce). The show is inspired by the work of Julia Davis, Charlie Kaufman and the Channel 4/Netflix series Black Mirror. Vegetables takes places at a secret location in Clerkenwell from 8th to 23rd June. Tickets are available via clerkenwell-bio-botanics.co.uk and are priced at £40 per person.

Photo: R Space Productions Immersive Rumours: Hi Steph. Thanks for sitting down with us today. Do you mind introducing yourself and telling us a bit about R Space Productions? Steph Ricketts: Yes, I’m Steph and I'm the Managing Director and Founder of R Space Productions. Back when we started R Space in 2018, we just wanted to create a space for people to come and share things they we were working on, make things together and share their skill sets. I had a project name called ‘The Space’ for a while in my head. It’s grown loads in the last couple of years, but when we started, Staines (which was the main hub for most of us) didn’t have a lot of arts or creative areas outside of places we worked at the time, such as Thorpe Park. We'd wait every year for the Halloween season to come along, but we'd get the itch for it around February time, so it was about asking, 'What if we did it all year round? What if we got to do this full-time because we're the one’s creating it?’ The goal of doing these shows [with R Space] has always been to grow people's skill sets and create a space for people to come and be in the industry while learning from us at the same time IR: We're speaking today because DEATHCELL: Magenta is opening later this month, but I'd love to talk about the previous DEATHCELL show that took place back in 2018. How did the idea for that original show come about? Steph: I’d had the idea of creating a prison-themed experience for a while. I'd become weirdly fascinated with prisons, so every time I went away on holiday or travelling, I’d go see a prison to learn about history and culture. When I went to San Francisco, I went to see Alcotraz. Add in my love for graphic novels, comics, and anime, and that’s where the story started - I wanted to tell a story about a prison that wasn’t typical and more fictional. I had snippets of what the story could be at the time, but it wasn’t cohesive. I wrote a 30-page document explaining what DEATHCELL is and what it was like to be in there. There was lore and different paths characters were going to take that would impact their future. People hear me say this all the time, but I’m such a fan of the film Fight Club. What I love about that story is that things can be in front of you the whole time, and you don’t realise. It’s the same with the SAW franchise. As a player in Jigsaw’s games, if you had just listened to the rules without overthinking it, you could have walked out alive. I was heavily inspired by that. IR: For those who didn't attend the 2018 show, can you tell us a bit about what that experience involved? Steph: The best way to describe the show is that it was an introduction or pilot into this world. It showed guests what a day is like inside this prison through the eyes of one character branded ‘Yellow.’ We don’t know their real name because when you go into DEATHCELL, you’re branded with a colour, and your identity is removed from you. Within the world of DEATHCELL, individuals either handed themselves in or were forcibly taken in by masked henchmen known as ‘The Flys.’ This choice determined their journey. Those who resisted faced a harsher induction, such as electrocution, while those who surrendered were taken to the shower room for waterboarding. (Which is still rough!) So at the start, guests were split and experienced one of these paths as they entered. We had actors who were really happy to invest in those scenes and went for it. People came out saying that the waterboarding scene was one of the hardest to watch. After you’d been inducted (as guests) you would all witness a fight between two of the inmates in DEATHCELL named ‘players’. These characters weren't just banged up in a cell somewhere, they were fighting for their lives and earning coins, or credits as we call them, to keep themselves alive. We had stooges planted in the audience, who would get picked out to be part of this fight. We wanted to make the audience feel like they were living and breathing this world, and it could be them who gets picked out next, injecting fear into people. Audiences didn’t think they were part of it, but members of the team were planted as stooges but just in their normal clothes. Before you know it, they’re being beaten up and then on the floor. After that, they were dragged into their cells, which is where the escape room elements of the show came in, and people had to play different games to earn credits. Once you had these credits, they'd get to use them in a vending machine, which sounds completely random, but it just makes sense in this world. After that, they were dragged into their cells, which is where the escape room elements of the show came in, and people had to play different games to earn credits. Once you had these credits, they'd get to use them on a vending machine, which sounds completely random, but the items inside it - from weapons to packets of Magic Stars, USBs with data on them - they’d all help you in various ways. Without revealing too much, the most unexpected items often held the greatest value in escaping DEATHCELL. Some guests would casually snack on their picked bag of Magic Stars chocolate, unaware that their choice could impact their gameplay. Eventually, inside the Warden’s office, guests discovered the Warden’s connection to Yellow, unraveling more of their relationship before the experience ended in a chaotic chase sequence. It's been really fun going back and looking at that show, now knowing that we're going back to the very beginning of the story, with a world that has expanded massively beyond what this original did. DEATHCELL (2018) Photos: R Space Productions IR: That original show also set up the world of DEATHCELL and explained why those prisons exist right? Steph: Yeah. The reason these penitentiaries exist in this universe is to bring harmony to people. Imagine a world where there's lots of unrest, lots of divided communities. Within this world, a system is brought in called the ‘Harmony Act’ to ensure that people are behaving themselves and if someone upsets you, or you upset someone, you or them can nominate each other to be picked up and taken to these penitentiaries to be conditioned into behaving better within society. As time went on, they became more and more corrupt, and this one in particular became the most corrupt and is so run down that it isn't part of that system anymore. The Warden became obsessed with playing with the prisoners that came in, and therefore, it's branded as DEATHCELL. IR: I can't recall many other shows from around that time that combined immersive theatre, scare attractions and escape rooms into one experience. Would you describe the original DEATHCELL as unique for its time? Steph: I think it was bold. I can't say for sure we were the first to do it, but as far as I’m aware, we were one of the first to merge those three elements - immersive storytelling escape room experience and run-out scare attraction - and we've just built on it since then. Escape rooms were big at that point, I remember them coming out around 2015, especially horror scare rooms, and there were a lot of escape room elements starting to be experimented with in the scare world, but I feel like we were just really bold at mashing it all together and saying, ‘This could work. We’re just going to go for it.’ Now, I can't see us ever not doing that. It's great to see how quickly the horror and scare industry has expanded in the last six years. Back when I started scare acting 15 years ago, it was all very linear, on-shoulders experiences. I can't speak for what went on in America or in Europe, but definitely within the UK. Nowadays, people want a story; people want to be immersed as soon as they go in and want to feel like they're living and breathing it. Video: R Space Productions IR: Are there any stand-out experiences that you remember combining at least two of those three elements? Steph: Back in 2015, I went to see a show called Generation of Z: Apocalypse; it was by a company from New Zealand. They’d done the Edinburgh Fringe with the show, and I think it was in Mile End when it was London, but that was the first show I went to that had immersive scares, and it broke the rule book to what I knew it to be. It inspired me to want to create theatre like that. I'd worked in scare attractions and was a bit desensitised, but I went into that show, and I was running through underground corridors away from zombies. Obviously, I’m a scare actor, so I know it's not real, but I was running away from it, and I really believed I was in that world for an hour and a half. You had to help someone make it to the operating theatre, distract a zombie, and rescue people. It just opened my eyes to the idea that scare could be so much more. That was a show that really inspired me, and it was one of the first ones I'd seen or experienced something outside of the usual linear attractions that I'd been so used to seeing and performing in. Photo: R Space Productions People want a story; people want to be immersed as soon as they go in and want to feel like they're living and breathing it. IR: DEATHCELL: Magenta, the prequel, is a couple of weeks away from opening, but at one point, you'd planned on opening a sequel to that original 2018 show, right? Steph: Yeah. Back in 2020, we were supposed to do, as we now call it DEATHCELL 2 as a project name. We were looking at a venue at the time, and then obviously COVID came about. We were maybe one or two weeks away from releasing tickets. We're very lucky that we didn't because obviously, the pandemic happened, and we were just about to sign onto a venue. We spent lockdown rewriting that experience. We spent hours on Zoom with various members of the team, just workshopping it, rewriting it, and Magenta soon had more of a part to play in that story. However, the world hasn't seen DEATHCELL 2 yet…and it’s still in the works. IR: Can you tell us a bit about the character of Magenta and how she fits into the wider DEATHCELL world? Steph: When we originally did the pilot, Magenta wasn't in that document or the concept I'd written. However, when we went to add in the escape room elements of the 2018 show, we were questioning, “Why are the games there? Who's been making them?” We came up with the idea of a character called Magenta. We didn't know what she looked like back then; we didn't know what her part in DEATHCELL was apart from that she's the person who creates these games. We didn't know where she necessarily sat in the story, but it gave us enough scope to go ‘Okay, she's the mastermind behind the games’. It gave us a concept to work with to make sure that the games and the theming in those rooms made sense, but it wasn't really communicated to the guests. From an audience point of view, you wouldn't know Magenta existed. Since 2020, we've developed Magenta further, and when we started to talk about this experience, we went ‘Well, if this is a prequel, why don't we tell the story of Magenta and DEATHCELL becoming DEATHCELL?' Photo: R Space Productions Everything needs to have a purpose, so we wouldn't put a jump scare in if there was no need to put a jump scare in. IR: How does your approach to creating these experiences change depending on the length? The 2018 show was 30 minutes, a typical Fright Nights experience is under 10 minutes, but DEATHCELL: Magenta is a full hour-long experience. Steph: When it comes to a lot of scare attractions I’ve worked in at Halloween events such as Fright Nights, you are in there for about 7 to 10 minutes, sometimes quicker depending on if you run out! You only have that limited time to tell an entire story. The theming, the scripts, the character work, the type of scares you have… they need to be snappy because if people don't get the story in those 7 minutes, they potentially come out saying ‘I don't know what I just saw’. You have to be very self-explanatory or utilise things like your marketing, queue lines and your pre-show characters to really tell that story. It’s got to pack a punch as you don't have time to delve into a backstory or characters. Equally, some people don’t necessarily want to hear a story, they just want to be scared, right? These attractions always require the same amount of background work, but guests might not get to see all of that. The types of performance you do is going to be different in fast-paced attractions because someone is going to be in a room for a couple of seconds, and then they're going to be into the next one. How you deliver that performance is very different from how we've got to do it in Magenta. We have the luxury of delving deeper into a story and deeper into the characters. In the world where you’ve got 60 minutes, you have more time to tell a story and delve into emotions a lot more, however, guests are going to be in the space for longer so you’ve got to add more details in to make sure that they aren’t looking around and noticing all the gaps in your experience. IR: Do you feel like you need to pack in loads of scares to match people's expectations if they're used to a Fright Nights style experience? Steph: We still have elements for people needing that scare factor. At the end of the day, that’s where we all started. Without saying too much, there are bits in the show that have that, but all of it is with purpose. I feel like everything needs to have a purpose, so we wouldn't put a jump scare in if there was no need to put a jump scare in. We’re quite good at having honest debates about that - does this character really need to be in there, and what does the guest take from it? For us, it’s all about the story, the world building and being immersed as soon as you go in, forgetting that you're in Hackney Wick and have come to watch a show. People are booking because they want to be immersed in the story. Photo: R Space Productions IR: You mentioned earlier that the 2018 DEATHCELL experience had multiple paths for people to go down. Is that the case with this new experience? Steph: This one is more guided. Guests will naturally have their own say in how their room experience goes because of the puzzles they are doing and how they go about them. But for this experience, the end goal is always the same because we want to lead people into the next chapter, which is DEATHCELL 2. With Magenta, we want guests to come along for the journey and not have different outcomes at this point because it’ll confuse the story later on. Your end goal is always the same, but your experience in each room and how various characters or things around you will react will depend on what you do. DEATHCELL 2 will definitely have elements of multi-route. The guests will decide how the show is going to end without knowing it, and then we'll have, in theory, a couple of minutes to switch that on and deliver one of 3 or 4 different endings. Photo: R Space Productions IR: What were your earliest experiences with scare attractions, and how did you find yourself working in that world? Steph: I'm a big believer in fate. You might not understand it at the time, but three years later, you'll look back and understand why. In 2010, I finished studying Performing Arts at Bath Spa University. I was the only third year on my course who didn't get picked for a show - all of them had been picked to be main leads in West Side Story, at The Minack Theatre in Cornwall, and I was devastated. At that point, you feel like you've failed, right? You're like, ‘I'm the only person who's not been picked. What's wrong with me?’ So I felt quite defeated. I remember sitting in this empty house in Bath, and I said to myself, ‘I'm just going to try and make it, whatever make it means’. My family lived near Chessington World of Adventures, so I looked on the Merlin website, and they were doing scare auditions for Scream in the Chamber of Horrors at Madame Tussauds in London. I thought, ‘Oh, that's the dungeon thing I went to last year and quickly ran up the stairs from’. I was such a wuss back in the day, I'd been to the London Dungeons once before and screamed all the way round. Maybe a week later, I picked up The Stage newspaper, opened it up, and there was the same advert for [Madame Tussaud’s] Scream in there. I thought it was fate. The auditions were in Old Street, so I went to it and then didn't think I was going to get it. I finished the audition, waiting for the call out, and they called me back for the following day for what they call Scare School. I remember leaving thinking, ‘Oh, I actually did something; they want to see me’. I went through two or three days of Scare School, which is basically learning how to be a scare performer. Testing your agility, physical endurance, character work, how you can apply physical theatre to what you're doing, and I'm quite a physical performer - which actually shows in Magenta - you can see in her in her physicality and the way she moves around the space, she's quite creaturesque, or less human than others. I was offered the job to be a scare performer for four months, and I just found my thing. I was suddenly with people who were on the same wavelength as me; I was around so many creative people of different ages. I ended up being extended, and then as more scare actors came in, they’d start talking about other events such as Fright Nights at Thorpe Park and how they go and do it every year. The following year, I auditioned, and I was cast in The Asylum, which was one of their best-loved scare attractions. Over the next couple of years, I was a Show Captain at Thorpe Park for Fright Nights, so I got to look after the performers every Halloween, and it's just gone on from there. I’ve worked on attractions like Saw Alive and Cabin In The Woods, and I eventually became a Team Leader of Entertainment at Thorpe Park, which is where I met a lot of the R Space members. In 2019 as Entertainments Experience Manager, I got to write experiences like Trailers for Fright Nights, and got to work on other experiences such as Derren Brown’s Ghost Train and work globally on the Tussauds brand in 2022 and 2023. More recently, I became a Project Manager for large-scale events such as Fright Nights, Mardi Gras, Oktoberfest, and working with loads of different stakeholders in the industry. IR: Looking back on your career so far, R Space has been a constant for nearly half of it. I guess R Space wouldn't exist without you being in that world.. Steph: Yeah. I've gone from being an actor who fell into doing scare acting for four months to this becoming my entire life, and R Space has been a thread through that for the last seven years, but the jobs that I've done have 100% helped me to become the person I am in R Space. I think R Space has also allowed me to grow in other areas of work because I've been out there in the eld with less protection and structure, so I’ve had to go and the answers myself. I feel like I’ve been out and earned my stripes to make me a great all-rounder, but I still have lots to learn and I still enjoy dipping back into scare acting ever so often. At Fright Nights, I always try to go back in and do some scaring in the new attractions. As the industry grows and grows, I think there's more weight on the performers now. They've got seven minutes to get this whole story across, whereas beforehand, and not to discredit it, you could focus more on jump scares, and people would be scared and run out. That still works, but now people want a story; people want elaborate costumes. The stakes are higher now when you're scare performing because people expect more. Photo: R Space Productions IR: You're set to be playing the titular Magenta in the upcoming show. What has it been like stepping into Magenta's shoes? It's quite a different kind of role from what you've typically done in scare attractions. Steph: Yeah. I haven't performed outside of scare performing for a really, really long time. I'd say that out of the entire project, that's the bit that scares me the most. All the bits that we need to sort in the next couple weeks, not so much. The performing aspect makes me go ‘Oh God, I haven't done this for a really long time.' I felt a bit self-conscious about doing it, but that's because the type of performance I've done recently has been very physical without any dialogue. When we were shaping this character on set, the team were amazing. Jimm, our Head of Creative and Production, has been our main lead in terms of the short film elements. He and the other performers around me really helped me feel at ease more when shooting. When we shot [the short film content] in August, that was probably one of the highlights of my year. I hadn't performed in a really long time, but I came away feeling like I'd challenged myself. I'm always thinking about how to play her or how to be her, but it's been a journey. I'm a great physical performer when it comes to scare acting, but Magenta isn't scare just acting. She's telling the story. IR: Finally, what do you hope people will take away from the experience? Steph: What I am most excited about is for people to be immersed as soon as they get there, see how big the story is, how much we have thought about everything, and how much work has gone into delivering it. We could have easily just done a short film, we could have just done an escape room, we could have just done a piece of theatre, but we decided to bash them all together. I want people to come away with it stuck in their minds. Either because of the story or how we’ve delivered the experience. DEATHCELL: Magenta will run from 21st February to 1st March 2025 at a secret location in Hackney Wick. Tickets are on sale now, starting from £30.00. For more info and to book, visit deathcell.co.uk A massive thank you to Steph and Liam from R Space for taking the time to sit down with us for this interview.

For one-night only next month, the world of Donnie Darko will be recreated for an interactive, tech-enhanced party beneath Waterloo Station as part of Donnie Darko's Halloween House Party. Image: Cinaethsia Productions The event is being produced by Cinaesthesia Productions, who are currently developing a three-hour immersive experience based on the film set to open in London in 2025. The event will give visitors their first chance to step into the tangent universe alongside Donnie and Frank the Rabbit. The event description for Donnie Darko's Halloween House Party is below.... Greeted at the door by Donnie Darko himself, guests will step through a facade modelled after the Darko's residence. Inside, actors, live music, film screenings, themed bars, and tech-enhanced visuals come together to create an immersive, dream-like experience that mirrors the film’s eerie tangent universe. The night will feature surprise character appearances, interactive moments, and references to key scenes from the movie, pulling you deeper into Donnie’s surreal world, all under the unsettling influence of Frank the Rabbit. Upon entering through a facade inspired by the Darko house, partygoers will find themselves in a surreal, mind-bending world featuring interactive moments and references to key scenes from the film. Expect live performances, 80s-inspired tunes, and themed treats as the Darko universe comes to life like never before. Image: Cinaethesia Productions More about Cinaesthesia Productions... Cinæsthesia Productions is a boundary-pushing immersive theatre company nestled within the cultural tapestry of London, UK. Their international team of imaginative pioneers creates innovative productions that blur reality and fantasy. Through innovative technology, storytelling, and craftsmanship, they transport audiences into extraordinary narratives. With diverse backgrounds and unwavering passion, they craft unforgettable, multisensory journeys that engage and inspire. Going beyond traditional production, weaving captivating wonders and inventing breath-taking worlds. Prepare for an immersive journey that defies reality and transcends time and space. Their mastery of technology brings holographic landscapes and interactive characters to life, merging reality and imagination. Find out more about Donnie Darko's Halloween House Party, check out the event's website here. Donnie Darko's Halloween House Party runs in Waterloo for one-night only on 1st November 2024. Tickets are priced at £21.50 and can be purchased via feverup.com

Image: SWAMP Five years after its initial launch, Isklander, the award-winning online mystery trilogy that captivated over 100,000 players worldwide, is making a highly anticipated return for a limited six-week run. Created by immersive company SWAMP (formerly Swamp Motel), Isklander is a gripping, multi-layered trilogy made up of Plymouth Point, The Mermaid’s Tongue, and The Kindling Hour, that takes place entirely online and blurs the divide between fiction and reality. Players must unravel a conspiracy involving secret societies, corporate corruption, and ancient artefacts—all while interacting with live performers who respond to their choices in real-time. The game’s immersive storytelling and innovative format quickly gained international recognition, leading to a TV adaptation deal with Gaumont - the studio behind Netflix's Lupin and Narcos, and Sky Atlantic's Tin Star. Now, in celebration of its five-year anniversary, Isklander is back, giving both returning fans and first-time players the chance to experience the mystery that started it all. Since its debut in 2020, Isklander has been lauded for its unique format, blending gaming, film, live performance, and interactive storytelling. Unlike traditional online games, Isklander requires no downloads or special software—players navigate a dynamic online world, receiving live video calls and uncovering hidden secrets as they race against the clock. All three shows received widespread acclaim, with The Guardian describing Plymouth Point, the first instalment in the trilogy as 'inventive, gorgeously designed and technically dazzling'. The Stage described Isklander as 'a whirlwind of engaging storytelling... an innovative, hugely enjoyable embrace of digital possibilities'. Priced at £35 per part, per group (up to six players), teams can dive back into the investigation, following a trail of clues across real and fictional websites, hacking into secret files, and making high-stakes decisions as they interact with live characters. The official descriptions for each part of the Isklander trilogy are as follows: Part 1: Plymouth Point As new members of the Plymouth Point Resident’s Watch, your team must track down a missing woman, Ivy. Corporate espionage, occult horrors, and shadowy cabals stand in your way. Search the internet, crack codes, and uncover the truth before it’s too late. Part 2: The Mermaids Tongue Following Plymouth Point, your team must track down an ancient artefact—the Mermaid’s Tongue. A source of great power, it could spell disaster in the wrong hands. Uncover a murky underworld of high society and the forces hiding in plain sight. Part 3: The Kindling Hour After Plymouth Point and The Mermaid’s Tongue, the Isklander trilogy reaches its thrilling conclusion. Infiltrate a powerful organisation, unravel secrets, and evade capture. Trust no one. Find their weakness… before they find you. Beyond Isklander, Swamp has continued to push the boundaries of immersive entertainment with critically acclaimed productions such as The Drop, Saint Jude and Velvet Pines alongside projects for some of the largest global brands, including Netflix, Amazon Prime and Warner Brothers. All three shows in the Isklander trilogy are priced at £35 per group (up to six people). The trilogy, which takes place entirely online, is running until 26th April 2025. Tickets can be booked via isklander.com