From niche to a billion pound industry: How immersive events have taken over
While cinemas are struggling and London's West End has witnessed a significant escalation in ticket prices, creatives behind immersive experiences say their sector is experiencing "a gold rush moment".
From shows built around obvious fan bases - such as Mamma Mia! The Party - to those working with established intellectual property, including Squid Game: The Experience, the UK has proven to be a world leader when it comes shows that make audiences feel part of the action, rather than just observers.
Little Lion Entertainment are the team behind two shows currently running in the UK: Pac-Man Live in Manchester and the Crystal Maze Live in London.
Its CEO Tom Lionetti told Sky News: "There has been a real boom in the experience economy… It kind of feels like a bit of a gold rush moment in this industry.
"It's not nascent anymore, it really is a big industry and it's getting bigger.
"West End theatre is incredibly expensive at the moment and even cinema can be expensive for what it is, so I think it's about caring about the experience … you've got to consider value for money these days."
Their Crystal Maze show challenges ticketholders to climb through tunnels and collect crystals just like contestants on the '90s programme.
And it's one of the longest-running immersive shows in the world, still going strong in London 15 years after the concept was first staged.
"The genesis really was this idea of breaking the fourth wall," Lionetti says. "I was an actor and I come from a theatre background, but what we were really intrigued with was giving people agency so you become the star of the show."
Last year, according to the Gensler Research Institute's 2025 Immersive Entertainment & Culture Industry Report, the global market for immersive entertainment was valued at £98bn - and it's projected to reach £351bn by 2030.
Despite times being financially tough post-pandemic, while cinemas have been struggling to put bums on seats, the continued popularity of experience events could indicate consumers are being a little more choosy about what they spend their hard-earned wages on.
Our eagerness to show off on social media could also account for some of what's driving the boom, as well as the isolating nature of how technology-dependant we've become.
As Secret Cinema's senior creative director, Matt Costain, explains: "Whether it's competitive socialising or immersive experiences, people are look for something that offers them more… and this is an example of an activity where people can come together and have a sense of community."
Secret Cinema - which combines live performance and film screenings - has been staging events for 15 years now.
In that time, they've partnered with major studios from Marvel to Netflix. Their latest offering will run from August see them bring Grease's Rydell High to life.
Costain says: "When we first started this was niche, film fans who wanted to dress up and keep a secret… but immersive has moved mainstream and we've found ourselves one of two or three companies who've been in it since the beginning.
"Part of our job as artists is to help people remember that they really love to play."
He jokes that those "who find it the most difficult to get started" are invariably the ones "at 11pm with their tie tied around their head and dancing on a table".
While there are many shows working with established intellectual property (IP), there are also some hugely creative original works also being produced - Storehouse being one of those.
For 16 weeks, attendees at Staged in Deptford, which was once the archival store for Rupert Murdoch's News International, will be guided through a story that takes place inside a 'digital memory palace' that supposedly houses every story, message, memory, and meme since the dawn of the internet.
Produced by Sage & Jester, its lead producer Rosalyn Newbery explains: "You're not moving into a theatre with infrastructure, put it this way, we literally had to bring electricity to the venue, bring power to the venue, bring water to the venue, none of that was there for us… it's a big old job and there's a lot of detail that you can't take for granted."
Over 7,000 crew worked more than 57,000 hours to build the set.
Getting a show of this size and scale off the ground is a feat in itself. As creative director Sophie Larsmon says: "There are a lot of people trying to get these projects off the ground and there are a lot of projects that never see the light of day…because of the hoops that have to be jumped through for licensing and financing.
"It takes huge amounts of creative effort, I've seen a lot of projects where quite late in the process the green light is taken away."
While some creators might struggle to access support because the work doesn't fit into traditional cultural boxes, it is certainly an industry that's worth shining a spotlight on.
As Larsom says: "The UK has always led the way in developing this form… I think people are cottoning on to the fact that this is a sector [that's] going to be a big revenue earner for the UK."
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