This immersive exploration of Elvis's life not only lacks the scale and ambition of previous Layered Reality experiences but tells us nothing new about the King of Rock and Roll. Photo: Luke Dyson Elvis Evolution, which has just launched at Immerse LDN, is the latest show from immersive producers Layered Reality. In this promenade experience, guests take on the role of last-minute audience members recruited from Bob's Burbank Diner to attend the 1968 taping of Elvis' NBC Special, which marked his return to the stage after a seven-year break, and relive his childhood and rise to fame through numerous flashbacks. Layered Reality is best known for Jeff Wayne's The War of the Worlds: The Immersive Experience, which is now London's longest-running immersive show, having first opened in 2019. The company built its reputation by fusing practical effects, holograms, projections and VR with elaborate, detailed immersive sets and large casts of live actors. This approach to immersive work continued with The Gunpowder Plot, which opened near the Tower of London in 2022, and shared many elements with The War of the Worlds, including extended VR sequences, dozens of detailed environments and actor-driven interactions with small groups of guests. With Elvis Evolution, Layered Reality has set aside the VR headsets and much of the foundations laid in these previous projects, instead opting for an experience with a much larger audience size and significantly reduced immersive elements. It's a disappointing shift in the wrong direction for a company known for pushing the boundaries of tech-heavy immersive experiences, and the result is a show that feels less interactive, less engaging and ultimately less impressive than its predecessors. Photo: Luke Dyson Structurally, the show is a pretty radical departure from the formula that served Layered Reality so well in the past. Rather than the 15 to 20 detailed environments previously presented in Layered Reality experiences, Elvis Evolution contains just eight spaces, three of which are bars, and one is a plain white-walled corridor. Most of the experience unfolds in three spaces: an NBC Studios staff break room, a train carriage, and the sound stage where Elvis's 1968 Special was recorded. In each, the audience of 100+ remains stationary, with little to do but watch on as the story unfolds in front of them. There's also minimal interaction with the cast and no opportunity to influence or enter the story. Occasional pre-programmed rumble from beneath the audience's seats, or gust of wind and smoke in the first half of the show provide some sensory immersion, but the show feels far closer to a traditional piece of theatre than an immersive experience - especially during the scenes in the train carraige, which has the audience sat down, watching the cast perform a whistle-stop, sanitised summary of Elvis's rise to fame against a backdrop of slicky-produced video content for 40+ minutes. Photo: Luke Dyson The story within Elvis Evolution is primarily told through the perspective of Sam Bell, Elvis's childhood friend from Tupelo, Mississippi. While the pair were close in their younger years, they lost contact when the Presley family moved to Memphis. Audiences first meet Sam in the NBC staff break room, where he tries to talk his way into Elvis's dressing room and is turned away. Licking his wounds, he delivers a pretty lengthy monologue about their shared childhood in Mississippi and the role music played in their youth. Later in the show, scenes show Sam hearing one of Elvis's songs for the first time on the radio, and in the show's second half, he has a conversation about Elvis in an LA bar with a stranger. The two never saw each other again in the twenty years between Elvis leaving Mississippi and 1968, when the show is primarily set, and while his perspective is certainly a unique one, it doesn't tell us anything about the version of Elvis that millions around the world love. Because of this, the narrative of Elvis Evolution feels oddly removed from the man himself and offers little meaningful insight into his life. There's no real-life stand-in for Elvis in the experience, and he's only seen through pre-existing archival footage and carefully shot recreations in which the actor's face is never shown. While the cast frequently talks about Elvis, he's treated by every character in the show as a mythical rock star who should be adored from afar, and not as a real person with a rich and complex history that's ripe for exploration. Alongside the show's version of Sam Bell, Elvis Evolution features a trio of talented cast members playing supporting roles, including NBC production staff, preachers, recording studio execs and crazed fans. They all do a phenomenal job at wearing so many hats throughout the two-hour experience, and rarely have a moment's rest, but the rapid turnover of characters makes it hard for the audience to connect to any single character besides Sam, whose only connection to Elvis lies in the past, not the present. Photo: Luke Dyson Much of the excitement surrounding Elvis Evolution when it was first announced in January 2024 hinged on the promise of an 'AI hologram' version of Elvis, with the initial press coverage of the show (including ours) highlighting this element of the experience. While it may have been unrealistic for audiences to expect Elvis Evolution to be of the same scale as ABBA Voyage, which delivers a full 90-minute-long hologram concert, the show was said to feature a 'jaw-dropping concert experience where a life-sized digital Elvis will perform iconic moments in musical history on a UK stage for the first time'. There's nothing of the sort within Elvis Evolution, with the only performances we see from Elvis instead being played on screens during the NBC studio scene, which follows the interval. A talented trio of musicians perform live alongside the footage, but none of them are Elvis - the person people have come to see. Most of the footage featured in this portion of the show, besides a montage of famous faces commenting on Elvis's influence on their careers, is freely available on YouTube without the AI-enhanced upscaling that's left the show's version of 1968 Elvis looking like a moving Madame Tussauds waxwork with overly smooth skin. Photo: Luke Dyson While it's never been confirmed, the show's third and final delay ahead of opening, which was attributed to an 'outside vendor going into administration', is likely referencing VFX company The Mill, which closed suddenly in February of this year, and was previously confirmed to be involved in the creation of visuals for the show. Regardless of whether or not their sudden closure prevented the inclusion of the holographic Elvis, its absence is keenly felt all the same. If it had come to fruition, this holographic version of Elvis would have turned the show's finale into something far more exciting, allowed Layered Reality to hold onto its reputation as a company that puts cutting-edge technology at the forefront of its experiences, and met the expectations of the countless lifelong Elvis fans who no doubt rushed to pick up tickets as soon as they went on sale. As it stands, Elvis Evolution offers little in the way of immersion, tells us nothing new about the show's titular character, and lacks the energy and spectacle one would expect from a show about one of the world's best-known performers. ★★★ Elvis Evolution runs at Immerse LDN, ExCel Centre until 28th December 2025. Tickets are priced from £68.00 per person. For more info and to book tickets, visit elvisevolution.com For more reviews of immersive experiences like Elvis Evolution, check out our recent Reviews.

Photo: Lyra Levin Undersigned - a deeply personal, interactive psychological thriller for an audience of one - is making its international debut this summer with stops in London and at the Edinburgh Fringe. The show, which has been created by Yannick Trapman-O'Brien, has enjoyed sell-out performances across the United States, and earlier this year was part of Overlook Film Festival's immersive programme alongside 2024's darling of the London immersive scene, The Manikins: a work in progress by Deadweight Theatre. Our friends over at No Proscenium have previously described Undersigned as "thrilling in every sense of the word", and six months on from their appointment, Todd Martens from the Los Angeles Times commented, "..there are moments I’ll catch myself thinking about the show and the choice I was presented with". Ahead of Undersigned arriving in the UK, we caught up with Yannick Trapman-O'Brien to find out a bit more about the experience... Immersive Rumours: Hi Yannick! Thanks for speaking with us today. Do you mind introducing yourself and giving us a bit of background on your work up until now? Yannick Trapman-O'Brien: Happy to! I’m a performer and theatermaker based in Philadelphia, and most interested in the things we share and exchange with strangers. I’ve jumped around a lot, working in creative research and performative exchanges, public art and history, circus and immersive nightlife, but in the past five years I’ve built a practice of making responsive, intimate theatre pieces for small audiences - most often only one person at a time. That shift in my practice started for me with The Telelibrary - an early pandemic-era experiment in telephone theatre that participants really seized and poured themselves into until it blossomed into something much stranger and more powerful than I ever expected. Five years and 2100 calls later, it’s still operating, and still teaching me new things about co-authoring with audiences, rethinking scale for performance, and making better and better invitations for anyone who stumbles in as my audience of one. Photo: Lyra Levin IR: Undersigned is coming to Europe for the first time this summer with shows in London, Amsterdam and at the Edinburgh Fringe. What can you tell us about the show and the role of the audience within it? YTO: Often, when I say that I make work for an audience of one, and someone understandably asks, “But what does that mean?” I explain it this way: I’ve written a show about you. You’ll be the only one there, and no one else will see it. And everything in the show is written except for anything about you — but that’s fine, because you’re the expert on anything about you, so when you get there, you can share whatever you choose, and we’ll finish it together. The show is a place to have a new conversation with yourself; to speak frankly to yourself about what it is you value, and to cement that truth through action. To that end, there’s not much about the show itself I can tell you, as we make a policy of not discussing the contents of the show at all. In part, this is to provide meaningful privacy for guests, who may well take the chance to discuss things that don’t live anywhere outside of their own head. But it’s also because we want our participants to own as much of the story that emerges as possible. Every guest makes their own calculation of how blindly they are willing to step in, and obviously we’re not opposed to offering some context - I wouldn’t be speaking to you if I was! It’s a very personal experience, it’s 45-55 minutes long, there will be a blindfold, an invocation, and a pointed discussion. But the invitation is for every participant to wonder what might emerge if they didn’t look to anyone else to confirm what their experience might or “should” be, and instead trusted that their own authentic response to the premise, as they encounter it, is something meaningful and worth discovering. IR: Where did the idea for Undersigned first come from? YTO: Undersigned began as a private commission way back in 2019. I got a phone call out of the blue from someone who had heard about my work and was looking to commission a piece of immersive horror. And my immediate instinct was to decline - maybe even to run away, which isn’t a practical choice on a phone call but it serves as a testament to how ill equipped I felt for the genre as someone who has watched a few episodes of Spongebob Squarepants through my fingers, rapt in terror at totally harmless levels of peril. But the client was persistent and offered me enormous flexibility, and I pitched the beginnings of an odd idea, and we went with it. The event came, and I did like 12 shows in one night, and I was totally bowled over by what those 12 random partygoers made with their time. I felt an enormous curiosity, and an enormous burden of care that I honestly didn’t have enough tools for at the time. I spent a few years looking for resources, talking to other artists and therapists and sex workers and all manner of people who hold heavy things and practice care and aftercare. At the same time, I logged more and more hours with The Telelibrary, and I found my own growing set of tools and practices. And so in 2022, I brought the piece back down from the shelf and started putting into practice all the questions and ideas I had about making safe places to be dangerous, and offering discomfort as a form of care. Photo: Lyra Levin IR: In the years since it was created, has Undersigned changed and developed based on the way audiences have approached the show? YTO: One of the great gifts of doing these low-throughput shows is the luxury of having something small, adaptable and sustainable enough to hold it year over year, and to gradually let hundreds of people pour through over time. As dorky as it sounds, I think about a school field trip as a child where I was brought to a cave and they told us how a stalagmite forms gradually from the steady repetition of just little drops of water, and I feel a touch of that same awe. For Undersigned, there’s an element of that accumulation; some mark of the generosity of every participant lingers, and comes to hold the next participant. And there’s a way that all the hands running over the surface make some parts of the experience smooth and worn over time - guests have really shown me what the piece is about, where they are inclined to linger, and how to stay out of their way. But I also think there’s a sharpening that happens too; there’s a fine point at the center of the question we present, and we’re always using the lessons from each guest to shift and adjust and ensure that edge stays keen, and that we can hold it steady enough for someone to press as far against it as they dare. IR: Do you find people go into Undersigned with some trepidation about not having a safety net of other participants around them, or do they instead find that to be freeing? YTO: I have to imagine participants sometimes feel nervous to be the only one there, and I know there is some subset of audiences for whom that’s just a dealbreaker. I’ve met people who say, “It would be my nightmare to be the only one there.” But I think that when those participants actually try it, they may find the experience isn’t at all what they imagined - which is maybe informed by the image of an empty theatre and you all lonely in the middle. The truth is we all spend time alone in our own heads, and I think for most of us it’s quite a crowded room. As facilitators, our job is to help that experience be as freeing as you suggested, and to guide someone away from the concern that they need to “do” anything or make something happen. The show is a chance to just respond organically, and to notice how your responses may be freer or stranger or different as you settle into the fact that there is no one there but you. Photo: Lyra Levin IR: Finally, what advice would you give to those looking to attend on how to best prepare themselves beforehand? YTO: Well, for starters, I would say that there’s nothing anyone has to do in preparation for this beyond grabbing themselves an appointment time and showing up at the right time and place. I’m really proud of the work we’ve done building the ramp into and out of this experience, and as someone who has frequently found myself only checking the confirmation email for an event while already on the train to get there, I’m always grateful for experiences that understand how expensive it can be to have to give energy and brainspace to something before it starts. But for those who enjoy looking forward with anticipation, or for those who are inclined to plan and prep (somehow also me, on the train heading to the event I haven’t read about with a backpack full of things I might need), there are a few things you can do to give yourself more space for whatever experience emerges. We give you the choice to bring an offering to use in the process, and it can be a great gift to spend a little time in the days preceding noticing what small objects in your life seem to have some kind of heat or charge to them, and choosing one that feels like it’s at a tipping point. And since I’m always in favor of people holding themselves with more care, I’d say to do so you could arrive early, so that when you’re inevitably later than planned, you’re still not rushing yourself. Better still, if possible I’d even recommend you save yourself some time for after the experience that you can spend alone; maybe there’s somewhere in the area you’d like to grab a solo meal afterwards, or a shop you’ve been meaning to pop into, or even just a nice walk you can talk through a nearby park, or to a tube station a little further away than is efficient. Some participants find that the time spent in their own company at Undersigned leaves them hungry for more - and some participants find that having plans after gives one a very functional alibi should one decide to keep their time at Undersigned as their own little secret. Undersigned will run at an unannounced location near London Bridge from 24th July to 26th July 2025, and at Underbelly Cowgate from 31st July to 12th August as part of Edinburgh Fringe 2025. The show asks for a Down Payment of £80.00 for London performances and £13.50 for Edinburgh performances. To join the waitlist for London appointments, visit yannickto.com/undersigned, and for Edinburgh appointments, visit underbellyedinburgh.co.uk

Image: Paramount+ To celebrate the launch of the new Paramount+ series Dexter: Resurrection, Paramount+ invites fans to step inside the mind of TV's most iconic antihero with Dexter: The Experience, powered by Fever - an unmissable new immersive event coming to London this July. The exclusive, limited-run experience will plunge visitors into Dexter Morgan’s twisted world, from his first kill to his dark rebirth in Dexter: Resurrection. Due to popular demand, which saw all available tickets sell out in 20 minutes on 24th June, an additional release of free tickets to Dexter: The Experience will be released on 1st July at midday via Fever. Those looking to secure tickets should sign up for the waitlist via dextertheexperience.co.uk. The event will have a standby line for those without tickets, but expect long waits. Taken on a journey through a labyrinth of rooms, fans will become dark passengers guided by an exclusive voiceover from Michael C Hall as Dexter Morgan himself. With each new room, the mind bends further, encouraging fans to think, react and follow his code while navigating interactive challenges that blur reality with memory. Fans will experience a fictional slice of life as Dexter, exploring his earliest memory to his first kill and every grisly milestone after that. By solving gruesome puzzles, mind-bending riddles, and gore-filled games, passengers will hope to make it out by cracking Dexter’s code. Pulling from series themes such as analysing blood spatter at Miami Metro Forensics, piecing together evidence, and escaping the Empire Hotel from the upcoming series, passengers will find themselves immersed in the dark and twisted world of the notorious antihero. Once the day’s investigating is done, it’s time to wind down with a bloody Mojito at Cuban Bar. Crack the code, and as a reward for surviving Dexter’s mind, dark passengers will be treated to an exclusive sneak peek of the upcoming Paramount+ series Dexter: Resurrection, which debuts on Paramount+ on 11th July. Dexter: The Experience will run from 10th to 13th July at 83 Rivington Street in Shoreditch. To be in with a chance of securing a free ticket, register at dextertheexperience.co.uk before the ticket release on 1st July at 12pm via Fever.

Photo: Squid Game: The Experience Following confirmation that Netflix's smash-hit reality competition, Squid Game: The Challenge, has been renewed for a third season and is now casting, it's been announced that London-based players of Squid Game: The Experience at Immerse LDN can gain an advantage over other applicants to the upcoming season of Netflix's biggest unscripted series. Beginning 17th July, winners of the in-person immersive experience will receive priority consideration for casting, though it does not guarantee a place in the show. Players at the experience will also be able to apply through on-site QR codes and social media links. Photo: Squid Game: The Experience Squid Game: The Experience, which opened in London earlier this year, invites players to take in five challenges inspired by the television series’ nail-biting games, including Red Light, Green Light, Glass Bridge, Tug of War and Marbles over 60 nail-biting minutes. The experience is currently booking until 4th January 2026. While the final season of Squid Game has now aired on Netflix, Season 2 of Squid Game: The Challenge is set to premiere on 4th November 2025. The show puts 456 players through a gauntlet of high-stakes games, intense strategy, and psychological tests, all for the life-changing prize of $4.56 million. The first season saw tens of thousands apply, but only one walked away victorious. Photo: Squid Game: The Experience Squid Game: The Experience runs at Immerse LDN until 4th January 2026. Tickets are priced from £35.00 per person. For more info and to book tickets, visit feverup.com

Punchdrunk Enrichment has announced that Steve McCourt has been appointed as the company’s new Artistic Director and Co-CEO. Steve will succeed current artistic director and founder of Punchdrunk Enrichment, Peter Higgin, who will be stepping down in December after 17 years. Photo: Nina Photography The Brent-based theatre maker and educator is currently Associate Director of Punchdrunk Enrichment where he is writing and directing the upcoming festive family production Fireside Tales (running at Punchdrunk Enrichment Stores, Wembley Park from 6 December). His previous work for the company includes immersive learning project The Creature Chronicles, teaching resource The Immersive Learning Toolkit and the development and delivery of Punchdrunk Enrichment’s programme of workshops, masterclasses and mentoring projects for teachers. Steve has also worked with companies such as Tall Stories, Improbable, Blind Summit and The Wardrobe Ensemble, taking work for young audiences to stages including ​​​​​​​​the Lyric and the Vaudeville Theatre (West End), Sydney Opera House, Royal Opera House, National Theatre of Holland, Bregenzer Festspiele and Spoleto Festival. Punchdrunk Enrichment was founded by Peter Higgin in 2008 to take the innovative practice of Punchdrunk into communities and schools, becoming the pioneer of immersive learning internationally. Now operating as an independent charity, Punchdrunk Enrichment’s projects have reached over 200,000 people and include The Lost Lending Library (reaching 40,000 children as an installation project for whole schools and now touring internationally as a family show) and productions such as Enitan’s Game  (the first show to be staged in the company’s own unique immersive venue ‘Punchdrunk Enrichment Stores’ in Brent), Against Captain’s Orders (created in partnership with the National Maritime Museum) and Greenhive Green (which took place in a care home for older people including those with dementia). In 2024 alone, Punchdrunk Enrichment worked with 64 schools, delivering immersive learning projects across the UK, and welcomed more than 3,700 children and families into the company’s new venue in Wembley. Photo: Paul Cochrane Speaking about his new appointment as Artistic Director Steve McCourt said: Punchdrunk Enrichment is an extraordinary company. As Associate Director, the last two years have brought my happiest and proudest moments as a creative – thanks, in no small part, to Peter’s exceptional leadership and vision. As we enter our next chapter, I see my role as both a custodian of the company’s legacy and as a frontiersman ready to lead the team into new creative pastures.  I’ve been a Brent resident for over 15 years and have seen first-hand the creativity housed in every school and home in the area. From Kilburn to Kingsbury, the borough is brimming with stories waiting to be told. As Artistic Director, I look forward to working closely with Brent artists and audiences to create work that is locally rooted and globally relevant.  I’m honoured to continue my journey with Punchdrunk Enrichment as Artistic Director. I’m excited to lead our incredible team as we celebrate the imagination as a catalyst for change, close learning gaps and offer every child the agency to become the protagonist of their own story – to become the authors of futures yet to be written’ Photo: Ali Wright Peter Higgin, outgoing Artistic Director said: I have had the privilege of calling Punchdrunk and Punchdrunk Enrichment home for the last 25 years and am honoured to have been on the most amazing journey with Punchdrunk Enrichment over the past 17 years.  As the organisation continues to embed itself in Brent now is a great time to step back and handover to fresh artistic leadership. I am thrilled to hand over to Steve and I can think of no better person for the job. He understands the power of Punchdrunk Enrichment's immersive practice and has already proved himself invaluable as Associate Director. He has a deep love of creative work for young audiences both in theatrical and educational settings.’  Nabil Al-Kinani (Punchdrunk Enrichment Trustee) said: I'm incredibly happy about Steve's appointment as Artistic Director and Co-CEO of Punchdrunk Enrichment. Steve embodies a thoughtful and respectful approach, understanding that rich cultures and communities existed in Brent long before Punchdrunk Enrichment's arrival. Rather than imposing a new vision, he's committed to championing, elevating, and investing in the borough’s existing talent and vibrant cultural landscape.  His unique ability to leverage Punchdrunk Enrichment’s resources to amplify local voices and enrich the community sets him apart as a true force for good. I'm genuinely excited to witness Steve lead Punchdrunk Enrichment into this meaningful and impactful chapter’ As he steps away from his role after 17 years, outgoing artistic director and founder of Punchdrunk Enrichment Peter Higgin is launching a fundraiser: the ‘Founder to Future Challenge’ to support the ongoing work of the company. This October he will run from his home in Ventnor, Isle of Wight to Punchdrunk Enrichment’s home in Wembley. At almost 100 miles, he will complete this remarkable challenge in three days, running three Ultra Marathons back-to-back with an aim to raise upwards of £25k to support Punchdrunk Enrichment and local youth-focused organisations on the Isle of Wight and in Brent. As a registered charity, Punchdrunk Enrichment relies on donations to help reach more children and families, particularly those with limited access to arts and cultural experiences. Funds raised through the Founder to Future Challenge will support the company’s core work: keeping ticket prices affordable, offering schools highly subsidised creative learning projects, and developing bold, imaginative experiences that place children at the heart of the story.

This 24-hour-long immersive experience in rural Wales is an intricately crafted, deeply atmospheric weekend of occult mysteries and meaningful immersion. Photo: Lemon Difficult A three-hour drive outside of London, deep in the Welsh countryside and down the kind of single-lane road that has you saying, 'There's no way anyone would actually drive down this at 60mph', sits Treowen. Flanked on all sides by grazing sheep, standing alone atop a hill, and surrounded by rolling green fields in every direction, this 17th-century manor house, complete with oak panelling and hidden nooks, is as picturesque a place as you could ever hope to spend a weekend in. It's also home to one of the best immersive experiences we've ever done. Running from noon to noon with an overnight stay on-site, The Key of Dream combines fine dining, puzzle and escape room elements, improvised interactive performance and branching narratives to create a one-of-a-kind, occult-infused immersive experience that's driven by the audience and their choices. For each show, groups of up to 20 are free to explore nearly every inch of the Jacobean house and its grounds to their heart's content in an attempt to untangle the show's elaborate web of Lovecraftian mysteries and discover the root cause of what's going on at Treowen. With an exceptionally detailed narrative that rewards exploration and curiosity, the ability for guests to directly shape how the story unfolds, a remarkably committed and talented cast and the luxury of ample time to become absorbed into the world, The Key of Dreams offers those who attend the rare opportunity to completely detach from the outside world, dive headfirst into a fully realised alternative reality and truly lose themselves in the story for a full day. Photo: Lemon Difficult Ex-civil servant Wyn Haffenden (Rik Sowden) has been plagued by nightmares since inheriting Treowen. After countless sleepless nights and endless strange dreams, they're at their wits' end and have reached out to dogged Miskatonic University alumnus Randolph Carter (Dan Osbaldeston) for help. Carter, in turn, has extended invitations to both Dee (Emily Carding) - a historiographer with reason to return to Treowen after 20 years - and us, the newly recruited Friends of the Miskatonic University, to try and get to the bottom of these eldritch goings-on. Alongside these three core characters, guests may also find themselves trading stories with The Collector (Maxine Dubois), unravelling the show's complexities with sharp-tongued lawyer Hope (Leo Doulton), or quietly unearthing long-held secrets with housekeeper Sophie (Monica Salvi), who knows a lot more than they let on. Upon arriving at Treowen, those who stay on-site are escorted to their rooms to settle in before lunch. Awaiting guests is a copy of The Miskatonic University Field Guide, a red, hardback book that serves as each guest's bible for the experience. With 35-odd pages of printed information and handwritten annotations from Carter, it's heavy reading for those who expected a gentle easing into the show and pretty overwhelming at first glance, but essential to understand both how the show's many mechanics and systems work and how much influence the guests have over the story. Alongside the Fields Guide sits an invitation to become a badge-holding member of the Friends of Miskatonic University, and for some, a second invite to instead join rival society, PRISMA. While the FMU Field Guide makes clear that collaboration and knowledge sharing between FMU members are essential if the expedition at Treowen is to be a success, it's apparent that some information must be held closer to one's chest, and as time goes on, not all of the guests' goals will be aligned. Photo: Lemon Difficult As explained by Carter in the Field Guide, there are multiple paths to uncovering the secrets held within Treowen. While guests can engage with these elements as much or as little as they like and still have a rewarding experience, for many, a good place to start is working through the Cuttings, which are scattered throughout the garden and house. By decoding the inscriptions on each of the 80-odd cuttings, guests will uncover an important, hidden phrase that The Collector has expressed a keen interest in finding out. Guests looking to dive deeper into the show's rich lore can jump onto any of the five story strains, which have taken influence from the real-life history of Treowen and folklore from the surrounding Monmouthshire area, through numerous diary entries, cryptexes, puzzles, and physical props spread across the venue. If all of this sounds like a lot to take in, that's because it is. There's a steep learning curve to the opening hours of The Key of Dreams, and the sheer volume of things to look at, take note of, and investigate can be too much for those still grappling with exactly what they should be spending their time focusing on. The show's cast is on hand to gently nudge guests in the right direction if needed, but The Key of Dreams is first and foremost an audience-driven experience, with very little explicitly spelt out. Among our group of 20 guests, many seemed to take to the complex puzzle-solving elements with ease, while others opted for a slower approach, instead retreating to the Snug with a hot drink to while away the hours doing more traditional jigsaw puzzles, which also tie into the show's broader narrative. Photo: Lemon Difficult Underpinning the puzzle-focused elements of The Key of Dreams, there's a huge focus on immersive interactions between guests and the 6-strong cast, which manifests itself in a number of ways. With one actor to every three guests, there's an unbelievable amount of face time offered to those able to pull themselves away from the puzzles. One-on-one, improvised interactions with the cast are commonplace and can occur at basically any moment, whether it's passing a character going up the manor house's grand staircase, catching them as they prepare tea or coffee or, in the case of Carter, when they're stood out front of the building having a cigarette. For those who choose to align themselves with a particular character or society, there's a series of scheduled meetings for either FMU or PRISMA members in pre-arranged locations around the house, where guests meet to debate and discuss their next collective steps. For the wider group of 20, the numerous meals (lunch, supper, dinner and breakfast) that occur throughout the 24-hour stay, in which Dee and Carter eat alongside guests, give ample opportunity to see the interpersonal relationships between characters become more and more strained as the intensity of the experience begins to ramp up. Photo: Lemon Difficult One of The Key of Dreams’ greatest strengths is in how much time it gives you to exist inside its world. With a full 12 hours of narrative breathing room on the first day and an additional handful of hours the following day, there’s space for something beautiful to occur: an emotional connection with characters that builds slowly and quietly, then hits you all at once. Characters' true intentions simmer beneath the surface of every interaction, their motivations remain murky for most of the day, and you might spend hours in the world before their masks begin to slip. In lieu of a pre-written script, the show's cast have instead studied a 40-page-long document and spreadsheet, which has character archetypes, motivations and potential outcomes for shows clearly outlined. This loose structure allows the audience's decisions, whatever they may be, to steer the story in whichever way they decide and allows the cast to respond to those choices on the fly with improvised dialogue and scenes. One such improvised scene that’s stuck with us came over dinner, in a moment between Dee and a fellow guest. Earlier in the day, those aligned with PRISMA had been asked to uncover the precise question Dee needed to ask as part of a ritual scheduled for a few hours’ time. In between courses, a theory to that question was posed, loaded with meaning and painfully direct. It tied directly into Dee's past and cut to the core of their character's motivations for returning to Treowen. Without a moment to think, Carding delivered a response so unfiltered and heartfelt, it felt like a dagger to the heart. The mask had slipped; we understood their pain, and every prior interaction we'd had with Dee was reframed in an instant. Photo: Lemon Difficult The show's durational nature also allows ample time for the relationships between fellow guests to mature. Helped in large part by the communal meals and common goal of trying to get to the bottom of exactly what's going on within the house, everyone is more than willing to work together, share information and fill each other in on the backstory they've missed out on while investigating elsewhere. As multiple story strains started coming to a head, guests ran around the house trying to find one another to make sure no one missed out on the big revelations, and by the evening, nearly everyone was on a familiar, first-name basis with the rest of the expedition crew. Once night falls upon Treowen, things take a darker turn. Down by the pond, something macabre has been recovered from the water. On the top floor of the house, there has been a revelation involving a music box, and someone is chanting in tongues. In the cellar of the building, hooded figures stand in a circle, preparing to take part in a cult ritual, and hushed whispers are coming from behind a trapdoor on the first-floor landing. Photo: Lemon Difficult As tension continues to build with every passing hour, guests find themselves scattered throughout the house for late-night meetings. As the clock approaches 11pm, things reach their climax. An improvised confrontation between Carter and Dee (whose body has now been taken over by an otherworldly being) does little to release the tension in the air but offers an ending point for the day's experience, some 11 hours after guests first walked through the doors of Treowen. With a new day comes the final hours of The Key of Dreams. As everyone tucks into breakfast in the Banquet Hall, word reaches the expedition party that the house has once again changed with new sets of puzzles and cryptexes. There's a final opportunity to mop up any leftover story strains, and more importantly, a collective decision must be made that will impact either Carter or Dee in a major way. Given that The Key of Dreams lasts 24 hours, the price of attending is admittedly a lot higher than what you'd typically pay for any other immersive experience. Starting at £450 per person without accommodation (which ranges from £350 to £700 per room), a visit for two people will easily cost you over £1000. While that's a considerable amount of money to spend on anything other than a mortgage payment, it's absolutely worth it. With 15+ hours of narrative to throw yourself into, outstanding performances from the cast, all meals included, and the chance to spend the night in such a beautiful setting, it's arguably remarkable value for money, especially when compared to shows like The Burnt City, which would be upwards of £100+ for VIP tickets and ran for a (in this context..) measly three hours. While in real life, no supernatural creatures or otherworldly beings are actually exerting their influence over those at Treowen for the 24 hours in which The Key of Dreams exists there, there’s certainly magic at play. It's one of the best immersive experiences on offer anywhere in the world today, and those who attend can’t help but fall under its spell. ★★★★★ The Key of Dreams runs at Treowen, just outside of Monmouth, Wales, on selected dates across 2025. Tickets are priced from £450.00 per person, excluding accommodation. For more info and to book tickets, visit thekeyofdreams.co.uk For more reviews of immersive experiences like The Key of Dreams, check out our recent Reviews.

Photo: Ludens Theatre Company Danny Romeo (Experience Director at Phantom Peak and Founding Director of Ludens Theatre Company) is set to host an immersive theatre intensive workshop this summer, designed to teach aspiring immersive creators, designers, directors, and performers how to create their own work and carve a path for themselves within the immersive industry. Across 10 weeks, students will learn foundational immersive theory, devising and writing techniques, improvisational acting, community development, writing and structure techniques, facilitation, and introductory business strategies for launching their own productions. The class will culminate in a showcase, where students will perform a work-in-progress showing of an original immersive production they've designed from conceptualisation to execution for a public audience. The course will take place at Theatre Deli near Liverpool Street/Aldgate every Monday evening between 7-9pm from 14th July, and conclude on 15th September. While the course is open to students of all skill levels, some experience of attending or participating in immersive theatre is recommended. Photo: Ludens Theatre Company A leader in the global immersive industry, Danny has created and worked with award-winning immersive productions around the world. He began his immersive career working with Punchdrunk's industry-defining Sleep No More in New York, and has since gone on to become the Experience Designer and Experience Director for The League of Adventure's Phantom Peak for eight seasons of the show, and is also the Founding Director of Ludens Theatre Company, which won the AGITATE! Grant for Terraforming Mars. Photo: Ludens Theatre Company Alongside this, Danny is also a higher education instructor, developing and teaching immersive and interactive theatre workshops and modules at universities across the UK. He has taught at the Royal Central School of Speech and Drama, Norwich University of the Arts, University for the Creative Arts, and the Institute for Contemporary Theatre. Speaking to Immersive Rumours about the immersive theatre intensive workshop, Danny Romeo had the following to say: The idea behind this intensive course is to offer an access point for newcomers to the industry. The immersive industry is expanding, and there's currently a gap between highly-funded blockbuster productions and scrappy start-ups with big ideas. I feel like we need more diversity of work across the industry to keep pushing the boundaries of the art form, keep audiences interested, engaged with the industry, and provide more access for underrepresented community members. My hope for this course is to empower new creators to carve out a path for themselves in this burgeoning industry and provide them with the tools to tell their own stories. Photo: Ludens Theatre Company The course is priced at £350 for 10 weeks (£35 per week) and includes access to a performance venue at Theatre Deli during the final showcase. To find out more and apply, visit ludenstheatrecompany.com

Sage & Jester, a groundbreaking new arts production company, have today announced the world premiere of STOREHOUSE, an ambitious, immersive production that will challenge your sense of truth and trust. Opening on Wednesday 4th June at Deptford Storehouse in London, the show is set to be one of the most artistically daring and large-scale immersive theatre shows in the UK this year. Photo: Sage & Jester STOREHOUSE will invite audiences to step into a world where humanity's stories have been carefully archived since 1983, at the dawn of the internet. As audiences navigate a rich and awe-inspiring underworld, they'll confront the powers that shape everyday narratives and question their own role and behaviours within society. The production, which is set across a space equivalent to two football fields, will throw audiences into a battle between the defenders of Truth and the keepers of Order. As the STOREHOUSE crumbles and secrets unfold, the true cost of controlling the narrative will be revealed, urging audiences to examine their vulnerability in the face of power. Fusing art, technology, and cutting-edge storytelling, this immersive theatre show will have audiences question how they can protect themselves—and others—from being manipulated by powerful forces within this digital information ecosystem. The event's description is as follows: Step inside STOREHOUSE, a bold new immersive theatre experience that will leave you questioning everything you think you know about truth and trust. Hidden within a vast warehouse – once the paper store of Britain’s most influential newspapers, you’ll uncover a sprawling, ever-shifting archive. Now used by an underground collective to house all the digital information ever shared – every news story, message, and meme is being meticulously stored in a quest for a higher collective wisdom. But as narratives begin to clash and compete, and with their last remaining founder fading fast, a successor is desperately needed. Someone must decide what’s preserved, what’s rewritten and what’s destroyed… Are you ready to take a stand? Led by Founder and Concept Creator Liana Patarkatsishvili, Creative Director Sophie Larsmon and Lead Producer Rosalyn Newbery, STOREHOUSE brings together an award-winning team of writers, designers, and artists. The creative team includes Story Producer Donnacadh O'Brian (Operation Mincemeat, Southwark Playhouse/Riverside Studios) and co-writers Tristan Bernays (Boudica, The Globe), Sonali Bhattacharyya (King Troll, New Diorama), Kathryn Bond (IT’S TRUE, IT’S TRUE, IT’S TRUE, Barbican Theatre), Katie Lyons (Peaky Blinders: The Rise, Caryn Mandabach Productions), Caro Murphy (Disney’s Star Wars: Galactic Starcruiser) and Rhik Samadder (The Indian Boy, The Globe). Production design is by Alice Helps (Lost Origin, Almeida Theatre and Factory 42), with costume design by Julie Belinda Landau (Wishmas, Secret Cinema), lighting design by Ben Donoghue (Ezra Collective, Wembley Stadium, UK Tour) and sound design by James Bulley (Distortions in Spacetime, Museum of Science and Industry). Liana Patarkatsishvili, Sophie Larsmon, Alice Helps and Zoe Snow Photos: Laura Lewis STOREHOUSE will take place in Deptford Storehouse, over a 9,000 square metre space, which was once used as the paper store for News International, now known as News UK. The vast set is derived in large part from raw, organic and bio materials, ensuring an eco-conscious experience. Sage & Jester was founded by Liana Patarkatsishvili, a Georgian-born media executive and cultural innovator with extensive experience in the television and arts sectors. She envisions STOREHOUSE as a catalyst for critical thinking about information consumption and its impact on society. Speaking on STOREHOUSE, Liana Patarkatsishvili comments: My whole life has been inextricably linked with the media and information ecosystem. I have witnessed firsthand the systemic impact of manipulated information on a personal, national and international level. With this awareness comes the need to share that insight and take steps to affect change. Sage & Jester’s Creative Researcher Aoife van Linden Tol comments: Our work at Sage & Jester is informed by extensive and rigorous research, ensuring that we have an in-depth understanding of the issues in information ecosystems. We have conducted years of desk research as well as original data collection, allowing us to gather important insights about how susceptible our audiences are to misinformation and how it affects beliefs, behaviour and decision-making, particularly around the major issues of our time. We then weave this knowledge into the creative process, providing checks and balances to ensure we are encouraging behavioural change that aligns with our mission. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Photo: Helen Murray The cast has been announced for the highly-anticipated immersive production STOREHOUSE, in which audiences will step into a 9,000-square metre underworld where humanity’s stories have been archived since the dawn of the internet. STOREHOUSE is the debut production from Sage & Jester, whose collective experience spans the likes of Secret Cinema, Punchdrunk, BBC Studios, and Warner Music. The show promises to be one of the most artistically ambitious, large-scale immersive theatre events ever to be staged in the UK, delivering a cutting-edge and thought-provoking journey. Leaving us questioning our role in today’s information ecosystem, a multi-award-winning cast of voiceover actors will guide us through the STOREHOUSE narrative as the four founding members. They will be joined by a cast of real-life performers in Deptford. The voiceover actors involved in STOREHOUSE include the multi-award-winning Toby Jones (Mr Burton, Tetris, Indiana Jones and the Dial of Destiny, Mr Bates vs The Post Office) and celebrated Meera Syal CBE FRSL (Paddington 2; The Kumars at No. 42; Yesterday; The Devil's Hour), joined by the formidable Kathryn Hunter (Black Doves; Poor Things; Harry Potter; Drive Your Plow Over the Bones of the Dead) and rising star Billy Howle (Dear Octopus; The Perfect Couple; On Chesil Beach; The Serpent). They will bring to life a group of radical visionaries, who believed that by storing and analysing all human knowledge, they could ignite the dawn of a new digital consciousness. As their surroundings crumble and secrets unfold, the true cost of controlling the narrative will become clear as audiences are urged to examine their vulnerability in the face of power. Image: Sage & Jester Leading the physical company in Deptford will be Nina Smith (Britannia, Sky; Doctors, BBC), Dawn Butler (Doctors, BBC), Bonnie Adair (Here We Go, BBC; Innocent, ITV) and Zachary Pang (Disney Channel Asia; Julie: The Musical, The Other Palace). They will be joined by Nat Kennedy (Dorian, Reading Rep Theatre), Elizabeth Hollingshead (The Last Disturbance of Madeline Hynde, Maximum Effort), Chris Agha (The Marriage of Figaro, Royal Opera House) and Harriett O’Grady (Peaky Blinders: The Rise, Immersive Everywhere). As well as Rob Leetham (Little Red Riding Hood – A Trial, Alnwick Playhouse), Scott Karim (The Great, Hulu; Dracula, BBC), Grace Hussey-Burd (I’m Angry But Look At This Dog, Unbound Theatre) and Darrel Bailey (Shadow & Bone, Netflix; EastEnders, BBC). Composer Anna Meredith will provide the musical finale for the production, as audiences are thrust into a battle between the defenders of Truth and the keepers of Order. Immersed in an underworld of knowledge, audiences will explore a vast, ever-shifting digital archive stored by an underground collective—where every news story, message, and meme ever shared has been meticulously preserved in a quest for higher collective wisdom. As the final founder fades and narratives collide, audiences will become part of the story, navigating this epic digital labyrinth, making choices, and determining the future of this precarious world. Fusing art, technology, and cutting-edge storytelling, STOREHOUSE is set to be one of the UK's most artistically daring and large-scale immersive theatre experiences, challenging how we perceive truth, trust and the narratives that shape our world. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Sage & Jester has announced a programme of events to run in conjunction with their upcoming immersive show, STOREHOUSE. Designed to spark critical conversations around misinformation, identity and digital truth, the season will feature partnerships with SXSW and Intelligence Squared, as well as collaborations with renowned artists and creators, including Stephen Fry. Photo: David Levene VOCALIZE (22nd May – 1st June) is a provocative new interactive installation that will premiere at Hay Festival, inviting audiences to confront one of the most urgent questions of our time: what happens when your voice is no longer your own? Visitors will step into a soundproof booth and enter the fictional world of the Vocalize Talent Agency, where they take part in an interactive voiceover training session led by Sir Stephen Fry’s AI clone. Guided by his vocal double, participants will record their own professional voice reel - until the experience takes an unexpected turn. Sir Stephen Fry comments: VOCALIZE is a brilliant fusion of art and entertainment, revealing both the wonders and pitfalls of AI. As this technology shapes our future, it urges us to pause, reflect, and question: where are we heading, and who gets to decide? Produced by Indigo Storm and conceived by award-winning artists Francesca Panetta, Shehani Fernando, and Halsey Burgund, VOCALIZE invites audiences to engage directly with AI-driven voice cloning. Through its interactive format, the installation aims to spark critical thinking about how AI could impact everything from entertainment to misinformation. The creators of VOCALIZE comment: We wanted audiences to feel what manipulation truly means. When the viewer becomes the protagonist, the boundary between truth and fabrication starts to dissolve - and that shift becomes deeply personal. As artists, we're drawn to exploring AI not only to unlock its creative potential but also to confront the risks and ethical dilemmas it presents. Image: Sage & Jester Across 15th - 25th May 2025, Sage & Jester will unveil a prelude to their upcoming show with an immersive pop-up experience across London. Offering a roaming portal into the unexpected, the Storehouse Truck will share the first glimpses of the production, which debuts this June. Prepare for intrigue, illusion, and a world where reality bends at the edges, as the truck journeys through London’s most vibrant corners, including South Bank and Camden Market. The Storehouse Truck will then find its home at SXSW London in Shoreditch for a week-long residency. Sage & Jester was proud to be announced last week as an official brand partner at SXSW's inaugural European event, and a curated panel is due to be announced soon. Photo: Laura Lewis Founder of Sage & Jester, Liana Patarkatsishvili, comments: We're thrilled to partner with London's inaugural SXSW, a hub of creativity and innovation. As an impact-led arts organisation, Sage & Jester aims to uncover manipulation and misinformation. We're not just storytellers; we’re catalysts for a more informed society. Our values align perfectly with SXSW, and we're excited to reveal more about our debut production, STOREHOUSE, and upcoming events. On Wednesday 30th April, a fast-paced new virtual game show, CUT THE BS, will be hosted by Capital FM presenter and online creator Niall Gray. In this lively TikTok series, special guests will be challenged to see if they can spot lies, fakes or perhaps they are switched on to the world of misinformation. As online audiences call out media manipulation in real time, Sage & Jester aims to empower and educate viewers through the series. Image: Sage & Jester Finally, as part of the wider programme, Critical Conversations, a trio of live talks in partnership with Intelligence Squared will dig deeper into today’s most pressing misinformation themes at The Pleasance Theatre in Holloway. On 13th May, Tricks, Trolls, and LOLs: Comedy’s Crash Course in Spotting Lies sees BAFTA-nominated comedian Rachel Parris (Late Night Mash) unpack how humour can dismantle falsehoods and expose the absurdity of disinformation. On 19th May, Truth Hurts: From Conflict to Connection with author and extremism expert Dr Julia Ebner, will explore how polarised media is fuelling everyday division—and how to engage more constructively. Finally, on 20th May, Sage & Jester teams up with Intelligence Squared for How To Cure Your Algorithm, with Jamie Bartlett (The People Vs Tech) leading a vital discussion on digital manipulation and how to reclaim control of your online narrative. Founded in 2024, Sage & Jester is an arts production company on a mission: to entertain and empower through bold, immersive, socially urgent work. From theatre to festivals, live talks to TikTok, Sage & Jester creates experiences that strive to get people thinking. Their debut production, STOREHOUSE, opens this June in a 9,000-square-metre underworld in Deptford, London. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Image: Sage & Jester Ahead of Sage & Jester's STOREHOUSE opening in Deptford next month, we spoke with two of the show's co-writers, Katie Lyons (writer for Peaky Blinders: The Rise and The Paddington Bear Experience) and Rhik Samadder (columnist for The Guardian and author of 2019's I Never Said I Loved You) to discuss why a show focusing on misinformation is so vital in today's world, how the pair became involved in the project, and what audiences will take away from STOREHOUSE. IR: Hi Katie and Rhik! Thanks for speaking with us today. We'd love to start by finding out how you both became involved in the creation of STOREHOUSE, and what about the show’s concept, which focuses on misinformation, spoke to you when you first heard it? Katie Lyons: I was initially brought on as a Narrative Consultant to support the early iterations of the production. That role soon evolved, and I became a co-writer, working alongside a team of theatre and experience-makers to develop what would become STOREHOUSE. The scale of the ambition - and the urgency of the ideas we’re exploring - feels both daunting and exhilarating. As a parent of two children, I often find myself questioning, worrying, even feeling overwhelmed by what the digital landscape will look like in the years ahead and how it will shape their understanding of the world. That deeply personal concern—the human connection to these big, abstract ideas - is what drew me in and kept me invested as a writer. Rhik Samadder: I was approached by one of the producers I’ve known for 20 years. Misinformation is such a daily part of our lives now. It’s one of the disturbing online phenomena that have become atmospheric, to the point they’re surprisingly hard to look at or examine, but they shape our real world and our future. Photo: Helen Murray IR: Liana Patarkatsishvili, the founder of Sage & Jester, has had first-hand experience of seeing how those with power can try to control the truth. Were there other real-life examples of misinformation that inspired the writing of the show? Rhik: I can’t speak for Liana, as she’s so brilliant at speaking for herself, and her story is so personal and powerful. But she was always bringing our attention to totalitarian-leaning regimes across the world, which all use the same playbook. Controlling information and collapsing truth has always been every dictator’s 101. Now tech billionaires do the same, in invisible ways that most people are unknowingly complicit in, for their own unknown objectives. Well, not that unknown - it always comes down to money and power. Katie: I live in Washington DC and the US elections coincided with the timing of the writers room for STOREHOUSE. The campaign ads, the debates, the news platforms, and the misuse of statistics were all solid examples of mis/disinformation in action on a daily basis. The writers gathered lots of articles and other real-world digital references to develop the story and characters of STOREHOUSE. Through our research and roundtable discussions, the deeper impacts of this information landscape became clear - heightened division within communities, the rise of far-right rhetoric, the othering of marginalised groups, and the pervasive spread of confusion and falsehoods across media platforms. Photo: Helen Murray IR: STOREHOUSE is going to be a massive show, both in subject matter and square footage at the Deptford venue. How do you go about making sure a story as large-scale as this connect with the audience on an individual level? Katie: Throughout the development of this production, we’ve kept the audience experience front and centre of everything we do. With a work like this, so much of its meaning and impact only becomes clear once it’s shared with an audience, so we’ve intentionally built in multiple stages of audience testing. These moments allow us to learn, adapt, and better understand how people connect with the world of the show. As I’ve said before, it’s a conversation. We want to empower the audience to actively inhabit the space, not just observe it, to feel that their presence shapes the experience. Rhik: It can’t be abstract. You have to stage real characters with a specific problem and high stakes. The audience will connect the dots to their own experience - you have to trust that people are smart. Katie also introduced us to her idea of HIIT - High Intensity Immersive Theatre. It’s a dynamic experience style. Basically, as soon as the audience gets used to one mode of interaction, you switch it up, so they’re always figuring something out. She’s a genius. Photo: Helen Murray IR: STOREHOUSE is opening in a couple of weeks' time. Can you tell us a bit about what audiences can expect from the show and what you hope they'll come away from the show thinking about or feeling? Rhik: They can expect an epic experience that will hopefully take up a permanent place in their imaginations. Katie: There’s nothing like this. It’s vast, bold and playful—an invitation to the audience to join the conversation, to observe the mechanics of misinformation and disinformation in a really exciting, jaw-dropping theatrical playground. Photo: Helen Murray IR: Finally, what do you hope audiences will come away from the show thinking about or feeling? Katie: The goal is to create an audience experience that is both surprising and unforgettable - one that leaves them not with tidy conclusions, but with provocative questions about the tools of misinformation and disinformation shaping our daily lives. They may not walk away with all the answers - we certainly don’t have them - but I want them to leave with a heightened curiosity and a more open, reflective mindset about their own engagement with social media and news platforms and the content they encounter and share. Rhik: Audiences will take away an understanding of how certain companies and bad agents will attempt to weaponise them. And I hope they feel an overwhelming awe at our interconnectedness. STOREHOUSE runs from 4th June to 20th September at Deptford Storehouse. Tickets are priced from £27.50. For more information and to book tickets, visit sageandjester.com

Photo: Jurassic World The Experience Jurassic World: The Experience is set to open this May in Battersea, throwing open the iconic Jurassic World gates to a must-see family-friendly adventure that brings one of the biggest blockbuster franchises in cinema history to life for dinosaur fanatics, big and small. Created by NEON, a global leader in producing experiential entertainment, Jurassic World: The Experience is the inaugural experience at the brand-new NEON at Battersea Power Station visitor space located next to the London landmark. Photo: Jurassic World The Experience Jurassic World: The Experience, which returns to London due to phenomenal demand, will be the first of many live entertainment experiences to be staged at the new attraction. Visitors will walk amongst pre-historic giants and get up close and personal with countless different species across two floors of curated Jurassic World immersive environments within this new venue. Fans of the franchise and audiences of all ages will be immersed in scenes inspired by the beloved films including walking beneath a towering Brachiosaurus, exploring the lab of genetic development, coming face to face with Velociraptor Blue, and even get a rare up-close look at the most vicious dinosaur of them all, the Tyrannosaurus rex. Guests will also be able to interact with baby dinosaurs, discover and engage with actual fossilised dinosaur bones. Photo: Jurassic World The Experience The opening of Jurassic World: The Experience will coincide with the launch of the highly anticipated film Jurassic World: Rebirth, which opens this July. A 24-hour presale begins on Tuesday 29th April via Fever, with tickets available on general sale from Wednesday 30th April. Ron Tan, CEO and Executive Chairman of NEON says: Jurassic World: The Experience is the perfect extension of the popular film franchise, offering the fusion of entertainment, science, and cutting-edge technology, and allowing fans to step into the awe-inspiring Jurassic World like never before. The opening of Jurassic World: The Experience at the iconic Battersea Power Station will mark the first of many world-class IP experiences that NEON will be showcasing in London through our partnerships with leading global studios and partners around the world. Together, we are excited to bring this globally celebrated experience to the heart of London. Photo: Jurassic World The Experience Sam Cotton, Head of Asset Management at Battersea Power Station Development Company, said: We are delighted to be working closely with NEON to bring an exciting new cultural space to Battersea Power Station in the year that Wandsworth has been named the London Borough of Culture. Jurassic World is iconic, making it the perfect first experience to showcase next to this iconic London landmark. We are excited to see Londoners and visitors from further afield enjoy the experience and everything else that Battersea Power Station has to offer. In celebration of this brand new venue opening at Battersea Power Station, NEON will provide 5,000 complimentary tickets to local schools, allowing students to experience the exhibitions firsthand. Additionally, 1,000 free tickets will be offered to local charities, community organisations, and youth groups. Photos: Jurassic World The Experience Jurassic World: The Experience opens at NEON, next to Battersea Power Station, from 23rd May 2025. Tickets start at £22.90, with prices depending on time slot. For more information and to join the waitlist, visit jurassicworldexperience.com/uk