Guided by a web app, participants have 80 minutes to earn as much money as possible by answering cryptic puzzles. They must choose what equipment to spend their cash on before returning to the meeting place.
Chambers is a truly fantastic night out for anyone who’s brave enough to take the plunge into a new dimension.
The Grand Expedition – the title alone calls to mind the colonial narratives of Dr Livingstone or Phileas Fogg, so it is perhaps no surprise that this show is more interested in presenting a stereotypical version of the countries we visit.
I’m not sure whether The Justice Syndicate is a play, event, experiment, or interactive performance. Whichever of this, it doesn’t really matter and certainly presents an interesting future for theatre.
The Land of Nod is as immersive as it gets, you may not get 100% of the story but what you do see shapes your entire attitude to young people and inner-city life.
Blurring the lines, nothing is ever black and white anymore, it is forever a shade of grey; Quiz is a show that reflects that sentiment fully. We are at the Noel Coward Theatre, a venue steeped in prestige and history. It plays host to many an iconic show.
Crude, disgusting, shocking, amazing, outstanding. Just a few words to describe this mental but incredible production. Trainspotting Live, based on Irvine Welsh’s 1993 book, follows a group of heroin addicts on their journey through life in an economically depressed part of Edinburgh.
There is no option of falling asleep because if you aren’t being shoved around as if on a rush hour tube then gunfire is constantly going off. Being in the pit is an intensely exciting and quite emotional experience.
I’ve never been to an immersive production that brings the audience into the drama quite as much as Keep Calm and Carry On.
It was ultimately a year about women, with Herstory Festival and Bechdel Testing proving that there was plenty of excellent new writing from women, despite Hampstead Theatre claiming otherwise.
Remember when you were a little kid coming off a particularly exhilarating fairground ride, screaming “again, again!”. That’s how Photographer O – the latest immersive experience from BROKENSTEREO left me feeling.
I have reservations as soon as I walk into bluemouth’s new immersive party show at the Wee Red Bar. Primarily because there aren’t many people there – never a good sign for a party.
The curation by Jacek Ludwig Scarso seemed solely to take every student’s unedited writing and plonk them in their own room. The show was twice the length it needed to be, and the audience was given no choice as to their route.
Alice’s Adventures Underground at The Vaults underneath Waterloo station is not just a show, it’s an experience. An experience which everyone should have. It’s magical, mystical, unique and altogether brilliant.
It’s St Patrick’s Day at an Irish pub in London. We’ve been there for awhile, but the night is young. There’s a five-strong band more focused on arguing the facts of Irish history than playing music.
On arriving at the front door of Latvian House I am met by a very smart, besuited Italian butler who refuses to let me in and won’t really give me a clear reason as to why. Had the performance begun?
As populism rises and fascists are tightening national borders with physical walls and stricter immigration regulations, the revolution is gaining speed. Theatre isn’t standing by, either.
What follows is nearly an hour of tremendous fun in the most ridiculous, discombobulating but ultimately touching and life affirming way possible. The show is built around an interview by a mysterious person called Ian and his feelings on the 1990s Acid House Movement.
The London Horror Festival is bigger than ever, new scare attractions appear all over the country every year and independent events like Frissonic’s Howl expand the otherworldly and terrifying offers for thrill seekers this time of year.
Along with tickets, we are handed earplugs. Considering Christopher Brett Bailey’s first work This Is How We Die, I’m not surprised.
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