01/09/2018 – R Space Productions: DEATHCELL

In a divided post-Brexit Britain, trust is no longer a concept which exists amongst its people. In an attempt to settle the public unrest, the government wrote into law the Harmony Act 2019, immediately setting up civil detention centres where anyone from the public can nominate someone who causes them upset to be detained. After years of corruption and misuse, the government lost control of these institutions, and they became their own entity. Those who were sent, often never returned – presumed dead – these public prisons earned a new name amongst the citizens of the country: Deathcell.

London’s Docklands are notorious for their quiet side streets that branch off from major roads, and this is where we find ourselves: on a quiet road in the middle of the docklands, outside a decrepit warehouse: two homeless people approach and started warning about the awful things that have been happening since Brexit, and how they’ve seen people go into the warehouse but have never left. They both saw we had cigarettes and bummed one off us, in exchange for a piece of clear plastic with the number “1” on it – weird.

Now, this is the point where I do a brief walk through of what I experienced to whey your appetite; however, this time you can see exactly what I can see (albeit much better because my eyesight is pants), thanks to the Go Pro that the wonderful R Space Productions let me wear!

please note the video contains plenty of swearing, sexual innuendos, and my voice. You have been warned

As you can see from the video, Deathcell lived up to its name! From the moment it began to the finale, it was impossible to not be immersed – the minimal lighting, the props, and the sound all complimented each other perfectly, and when combined with the truly dedicated and hard working back stage team, it really felt grotty and out of control – and that’s before I mention the actors!

The Actors, including the homeless couple that kept us entertained whilst we waited for our entry, really did themselves and R Space Productions proud: each character was completely realised by the actor who put 110% into their performances to really make each character feel like a real person for the brief moment we interacted with them, which is so rare to come by in haunts and immersive theatre – even when we were hanging around before and after, we had an actor or two come up and entertain us and even then they were still going all out, despite being outside the haunt. I honestly can’t say how impressed I am with the actors performances – well done to all!

There were a few niggles I had with the show: firstly was the narrative audio – there are a few spoken pieces played over the speaker system that were just a little on the quiet side, which is a real shame as I feel like we missed out on little bits here and there, and secondly was the lack of scent – whilst it wasn’t necessary, a scent pod dotted about the place really would have made the warehouse come to life as Deathcell.

 

Overall, I am exceptionally happy that R Space Productions managed to blow their Kickstarter campaign out of the water with their mad money raising skills, as it led to a truly memorable experience right here in the heart of London – I really look forward to seeing more from R Space Productions and will be back in a flash for more!

 

 

Facebook: https://www.facebook.com/RSpaceProductions/

Twitter: https://twitter.com/rsp_prod

Instagram: https://instagram.com/rspaceproductions

Website: https://www.rspaceproductions.com/

This slideshow requires JavaScript.

Advertisements
01/09/2018 – R Space Productions: DEATHCELL

02/06/2018 – Faceless Ventures X – IUXTA MORTIS (private show)

Cracked – Survival Experience is a notorious event in the UK haunt scene, which has slowly started making ripples in the world haunt scene as they teamed up with the legendary Heretic Horror House to create two of the most intense, violent, disturbed shows imaginable, Cracked vs Heretic; IUXTA MORTIS comfortably sits itself between these two shows in the Cracked mythos.

A set of stairs lead down to two doors. I step through the first and close it behind me. Knocks on the next and I’m guided inside. A white face stands before me, then blackness – my vision is taken from me. A hand gently takes mine and leads me into the room. I kneel. My vision is returned and I come face to face with a gas mask, which embraces me. I’m guided onto my back and my vision goes again. Silence, except for a bit of white noise and the sound of movement. A voice breaks the white noise: Blake’s. I live his life, or rather, death. Buried, alone but not, mourning.

On my knees again, the mask removed. The stoney faced woman from my time in Cracked 2.0 caresses my face and begs me to see the real me. A baptism by blood before ice stabs at my face – I panic but hold my breath. A mirror and a reflection: “Can you see yourself, Blake?”. Who am I?

Vision is lost again, and the gentle hand guides me through the dismal apathy. I lie down for the doctor as a wave of serenity washes over me. I begin laughing as I see shadows get extracted from my stomach, though this laughter soon fades. My head’s immobilised as the shadow of the doctor looms over me. I close my eyes and get told off: I need to see this.

Darkness consumes me again. The hand takes me to a room, and I’m sat down and handed a piece of paper: I read. “I am Blake”. My world is ripped from beneath me as I stare up at my demons – a choice, as heaven and hell do battle. I continue to read as my angels and demons go to war. I’m rushed out.

Au revoir sight: I’m back on my knees in the gas mask. Blake embraces us, thanks us, and we leave.

 

Who am I?

I am Blake.

02/06/2018 – Faceless Ventures X – IUXTA MORTIS (private show)

09/03/2018 – DotDot.london: Somnai

I’ve never been happy with myself – I always knew I had the ability to do more, see more, be more. OK, that’s a lie: I’m very happy with myself and strive to push myself as much as possible; however adverts have been popping up on Facebook and around London advertising this brand new service that’ll help me uncover my true potential by accessing my subconscious at will, with only acute death as a potential side effect. What could go wrong, right? … right?

 

With absolutely no information available bar a website selling tickets and a few posters with double edged slogans such as “sleep with us”, I very much read into this as being an intense horror experience where things go horribly wrong and you end up in a nightmare landscape, tormented by nameless entities that want nothing more than to cause suffering due to the imagery and mystery surrounding the event: instead what I found was quite the opposite.

 

Somnai is, at the core of it, an immersive theatrical experience that mixes live action, virtual reality, film, and scents and sound in an attempt to completely immerse you in what can only be described as a cyberpunk sci-fi movie with a slight Black Mirror undertone, just without the dystopia that’s usually prescribed to the genre, and it does it exquisitely once you accept that you need to don virtual reality devices and may end up in waiting rooms due to the nature of the show; having said that, as soon as we entered each scene I was very much back in and immersed in the world once more.

 

From the moment I handed my belongings over to the moment I left the building, I was in awe at what I experienced during my hour-ish long show, from the story and how it played out through to the incredulous amount of technologies used – it’s rarely a good idea to rely heavily on technology given how temperamental it can be, but the team at Somnai are taking that risk and, when the technologies work, it is an absolutely beautiful  and overwhelming experience.

 

What are you waiting for? Come and #SleepWithUs.

Sweet dreams.

09/03/2018 – DotDot.london: Somnai

08/03/2018 – The Tom Sawyer Effect: The Pendulum

Located in the tunnels beneath Waterloo train station in central London, The Vault Festival puts on a series of shows and immersive experiences that spread far and wide across all mediums and genres; this year, one stood out in particular: The Pendulum by The Tom Sawyer Effect. Billed as “a hyper reality horror experience blending virtual reality with immersive theatre”, there was no way I could turn this down – even if I am a sceptic of virtual reality.

It’s time for me to experience The Pendulum. I arrive in the tunnels and am greeted by the usual hustle and bustle of the underpass: a mix of people hanging about outside The Vault itself, street jugglers, professional photographers, and graffiti artists litter the tunnel, creating create this electricity that buzzes through the air but always seemed to be dampened as if it’s only for the select few in the area.

An usher arrives and asks if I’m here for The Pendulum – “Yes” – “Follow me”. We walk down the tunnel and away from the main hub of the festival in complete silence despite my best attempts at striking up a conversation, which unsettled me a bit. We approach a completely unassuming door right at the end of the tunnel and I’m ushered into the blackness, where someone is sat at a table with a sizeable waiver and a pen. I’m asked to read the waiver and backstory and sign on the line, and I do. I’m then handed a red boiler suit and am instructed to put it on and take a seat on the chair off to the side. The usher approaches and covers my head with a cloth, and the experience begins.

What happens over the course of the next 20 minutes is difficult to put into words, but there’s no hyperbole in synopsis: from the moment I was guided from my seat into the 5 metre by 5 metre room where the one-on-one experience is held, I was completely immersed in their universe. Sure I didn’t think that I was this super hacker the interrogator was talking about, but that’s not the point: the actor had me eating out of the palm of his hand for the entire show; not only that, but the way in which the virtual reality was used wasn’t jarring at all as it has been in other attractions – it had a legitimate reason for being used.

Despite me erring on the side of caution with regards to virtual reality (never work with computers, animals or kids in show biz!) and having unfortunately experienced tech failures during haunts that rely heavily on it, I was very much expecting it to be dreadful: I was proven wrong, and man am I happy about that! I don’t want to go into too much detail as there’s a lot that you need to experience for yourself, but the most bizarre and jarring (in a positive manner) thing was that the room went from being 5 metre square to a tunnel that looks about 10 metres deep and 50 metres wide.

 

The Pendulum is a truly impressive piece of theatre that is quick to immerse you in its universe and make you question what you perceive as reality, from the story through to the actors to the technology used, it is a real pleasure to see and experience something of this calibre – well done to absolutely everyone involved!

08/03/2018 – The Tom Sawyer Effect: The Pendulum

16/01/2018 – Take Me Home: Horror Within

Walking up the stairs toward Take Me Home’s Horror Within, I had no idea what to expect: I’ve done haunts with the tiniest possible floor space possible that have really packed a punch and left a mark over the last few years, however when I heard that there would be live actors inside the impossibly small room looming from the balcony above, I was curious as to see just how this would work.

We were ushered inside and told to take a seat at a table in this gloomy early-1900’s drawing room, smoke hanging still in the air to create a haze. As we’re all sat and made comfortable, we’re asked to turn off our phones and tuck our belongings in under our chair and we wait as atmospheric music washes through the room, trying to stir up a joke with each other which are followed by short-lived nervous chuckles as nobody had any idea what to expect, myself included: the lights went out and a music box dances its way through the darkness…

What happened over the course of the next hour is really hard to fully encapsulate in words: I could tell you every little detail, every line that was said, every glance over the shoulder, but that just wouldn’t carry the same weight that the atmosphere created by the Take Me Home team managed to create: I can’t speak for anyone else in this performance but I was very much eating out the palm of all the actors hands throughout the performance.

Given that this was the premiere performance, I was a little concerned as to how rough it was going to be as I had spoken to the producers they were entirely, and understandably, nervous themselves; however the actors took this all in their stride and rolled with whatever hiccup had happened, which lessened the impact of the issue entirely – something that definitely isn’t easy, especially when some of the pieces were narrative!

There are a few changes that I’d make that I thought might have a better impact which have already been passed onto the team but won’t be posted here as they’d give away elements of the show that are best left unknown: having said that, if the actors can see that the audience is really eating out of the palm of their hands, definitely draw out poignant sentences and embellish motions more. I very much look forward to returning to see the full show later this week!

The world within the four walls of Jacob’s drawing room is so beautiful and rich that it’s entirely easy to forget the outside world exists at all: the actors and effects blend beautifully together to create an atmospheric and haunting show that’ll stick in your mind for a very long time!

 


 

UPDATE: I’ve just returned from my second showing of Take Me Home: Horror Within and I walked out just as impressed as I did the first time! A lot has changed: entire scenes have gone, new effects have been introduced, and what worked in Tuesday’s show has been improved on since, and the actors have really settled into their characters which made their interactions much more believable: I was thrilled when I found out the show has been extended and I urge you to go, even if you’ve already experienced it!

 

Facebook: https://www.facebook.com/takemehomeplay/

Tickets: https://www.thebroadwaybarking.com/sales/genres/drama/take-me-home–horror-within

26857095_2296906710620957_1705623219_n

16/01/2018 – Take Me Home: Horror Within

21/10/2017 – Chessington World of Adventures Howl’o’ween

After hearing about Chessington World of Adventures putting on a Halloween event, I was extremely curious as to what they’d do. When I added them to the huge lineup, I hadn’t had much exposure/experience/whatever with kids haunts (except a backstage tour of Spooks in the Straw), so thought it might be something a bit different, and I was glad I added it to the lineup after doing House of Monsters, Alton Towers’ very own kids haunt.

Unfortunately for myself, I only had a limited amount of time at Chessington as I had to make my way across London in order to catch the next leg of my journey, so I wasn’t able to experience Trick or Treat Wood; but from what I could hear and see when walking past it, it looked like great fun with some very enthusiastic actors to boot!

My first haunt at Chessington was Creepy Caves Unearthed, a haunt created with young teenagers in mind. I’ve no idea what young teenagers they did their market research on because I honestly could not believe how intense the haunt was! The storyline is well thought out and very captivating from the get go, with some amazing actors delivering the narrative (though I’m not sure why they had American accents, but you know, just a minor detail that has no negative impact on the attraction itself) and scenes and sets that compliment the story being told. The theatrics give way and all hell breaks loose as you’re sent through the creepy caves in order to survive as mutated humans come charging toward you from absolutely everywhere! The finale had a very nice twist as well, with some more scares as you’re chased out of the attraction!

Parents, please please PLEASE take note of the age restriction! Whilst Chessington is a family friendly attraction, Creepy Caves Unearthed does not fall into this category: it is honestly as intense as some of the haunts I’ve done aimed at adults, though it’s much shorter. When we were waiting for our timeslot, we were seeing kids coming out in tears! I was extremely impressed with the attraction, and really couldn’t find much fault with it – the time you do it doesn’t have any effect as you’re all indoors anyway, the actors really got into their roles and managed to make me jump a few times, and the sights and smells really popped and stood out, making Creepy Caves Unearthed a brilliant addition to the park!

 

After taking a bit of a breather to calm down, I moved onto Curse of the Lost Tomb, a story driven show that mixes theatre with a few scenes that mimic an escape room. All the actors inside are extremely captivating and really fit in with their scenes well, improvising lines and interacting with the audience beautifully as you make your way through. Whilst not rated as too scary by the theme park, it can be very tense at points as there’s quite a lot of flashing lights, an eerie atmosphere, and a finale that used some effects that I really wasn’t expecting! Great fun for the whole family, but as with Creepy Caves Unearthed, definitely take the age restriction into consideration as younger guests might not enjoy it.

 

Overall though, Chessington World of Adventures has put on a series of fun and brilliant shows and haunts, and plenty of roaming characters that will thrill you with their amazing moves! Well done to everyone involved!

 

21/10/2017 – Chessington World of Adventures Howl’o’ween

14/10/2017 – Faceless Ventures: Diary of a Deceased

A dead body. A diary with all but four pages ripped out. This is the fractured story of John Doe and his encounters with monsters and noises in the dark.

We descend the stairs to the morgue silently, as instructed. A nurse stands to greet us silently as a heavy atmosphere descends around us: in her hand is the Diary. In a melancholic and calm tone, she begins to explain how John Doe and his diary came into her care. She opens the diary to the first undamaged page and begins reading.

We are instantly transported back to John’s childhood, led by his former self. We hide in a den and play a game of Noughts and Crosses; a safe space, the child explains, from the things outside. We relive his night time routine, then it goes dark. Do you hear noises in the dark? We do. They get closer and closer. We escape.

Back in the morgue. We meet John’s love interest; they met in America where she was studying at the time. We enter a room with American flag and bunting, a shadow facing a huge American flag as The Last Post plays. She told us how she didn’t believe him when he told her about the noises, but that all changed. A speech begins to play, growing in volume; the American anthem joining the aural intrusion. Nightmarish creatures appear from the darkness, creeping around, tormenting us, disembodied by flashing lights that allowed them to move unnaturally. The shadow facing the flag leaves the room, and everything returns to normal. What is normal anyway?

We’re back in the morgue. We’re told to follow the voice as a hauntingly beautiful and overwhelming rendition of My Immortal wafts through the air. We follow the voice: in front of us, John sits, arms upturned to show his bloodied and slashed wrists: an unknown figure looms over him, singing his swansong, mourning. In death, his childhood and love are returned to his past: the only gift left to give is death, which was given to us.

Up the stairs and back to reality. Is this the end, or merely the beginning?

 

22528286_513645705636725_8982613136062561773_n

Diary of a Deceased has truly left me stuck for words: I know for a fact that what I experienced could never be transposed into words: it was intense, haunting, and utterly beautiful!

What sets this apart from other haunts/attractions is that it relies heavily on the narrative and the actors ability to set the atmosphere in each scene, which they all did perfectly! From the whimsical and lighthearted atmosphere when visiting his childhood and playing games through to the melancholy of his relationship, through to the soul crushing end of John Doe, it was impossible to not get sucked in!

The one tiny piece of criticism I have is the haunt ending – I loved what it was trying to portray, and it portayed it well; however, some more effects such as a wind machine and strobes would further push the idea.

Despite the one little teeny-tiny improvement I could think of (and that’s all it is), this production definitely set the bar high for future immersive theatre, as people were moved to tears in the 30 minutes the show lasted. I cannot wait to see where this goes, if it goes anywhere: as a singular story it is perfect, but as I somberly climbed the stairs leading away from the morgue, I was definitely craving more! Well done to everyone involved!

14/10/2017 – Faceless Ventures: Diary of a Deceased