Talking about immersive theatre: Conversations on immersions and interactivities in performance

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Notes

1 See Josh Machamer, Immersive Theatre: Engaging the Audience (Common Ground Research Networks, USA 2017), 55-56.

2 The production attracted more than 70,000 customers while generating enough revenue (£4.8 million) to put the film into the UK box-office Top 10 for 11 straight weeks; see Charles Gant, ‘The Mummy Is Buried by Wonder Woman at the UK Box Office’, The Guardian, 13 Jun 2017, https://www.theguardian.com/film/filmblog/2017/jun/13/uk-box-office-themummy-wonder-woman-my-cousin-rachel, accessed 22 September 2023.

3 Nearly all of these attractions are London-based, underlining that while the number of productions has increased, the audience exposure of these productions has been relatively narrow, a point highlighted by Bucknall (179).

4 Escape room operators explicitly note when an ‘actor’ is involved, further reinforcing how these experiences are becoming as much theatre as game play.

5 Bucknall highlights prominent academic voices in the book, including Gareth White (2012), Jo Machon (2017), Liam Jarvis (2019), Adam Alston (2016) and others who have written about how audiences experience immersive theatre.