Immersive theatre tackles the global blight of misinformation with a new underground movement, led by Britain’s top acting talent, including Toby Jones.
Hidden from view inside a south London warehouse, a new underground movement will be fighting the international blight of misinformation this summer. The huge immersive event – half theatrical show, half social campaign – is to involve some of Britain’s leading acting talent, including Toby Jones and Meera Syal.
Immersive theatre is a form of performance that engages the audience physically and emotionally, blurring the lines between actor and spectator.
This interactive format transports viewers into the world of the play, encouraging participation and immersion.
Immersive productions often take place in non-traditional venues, such as empty buildings or public spaces, adding to their unique experience.
With its focus on experiential storytelling, immersive theatre has gained popularity worldwide, pushing the boundaries of traditional theatre.
Liana Patarkatsishvili, the founder of Sage & Jester productions, still recalls the moment when the independent newsroom was taken over on the orders of the government of ‘Mikheil Saakashvili.’ Her experiences have influenced her work on the new show, which is due to take place over 9,000 sq metres in an empty building in Deptford.
The debut show, called Storehouse, is due to run from 4 June until 20 September. The story will take place in a fictional storage facility, where humanity’s history has been archived since ‘1983, the dawn of the internet.’ In this arena, a “battle between truth and order” will be waged, “as the powerful manipulate the truth to their own ends and critical thinking is the only effective weapon”.
A storehouse, also known as a warehouse, is a building designed for storing goods and merchandise.
It typically has a large capacity to hold various types of products, including raw materials, finished goods, and equipment.
Storehouses are often used in industries such as manufacturing, logistics, and retail.
They provide a secure and controlled environment for storing and managing inventory, reducing the risk of damage or loss.
Syal, who will voice Dolly K Guha, one of the imagined radical founders of the movement, said: “I’m thrilled to be part of Storehouse. It is an ambitious immersive production that tackles a critical issue.” The three other founders are played by Jones, Kathryn Hunter, and Billy Howle from the film On Chesil Beach.
Patarkatsishvili argues that misinformation is not just the spreading of deliberate falsehoods. “It’s also about creating uncertainty and eroding trust,” she said. “This tactic has been used globally, from casting doubt in the media to flooding the public with conflicting narratives.” In today’s attention economy, news has been commodified, becoming a product that needs to be ‘sold’. It becomes paramount to be able to discern ‘sellable information’ and false narratives from facts and being properly factually informed.
Misinformation refers to false or inaccurate information that is spread and believed by people.
It can be caused by various factors, including social media, biased news sources, and human error.
According to a study, 62% of adults in the US have shared misinformation on social media without realizing it's false.
Misinformation can lead to confusion, anxiety, and even harm.
To combat this issue, experts recommend verifying information through reputable sources before sharing.
The show will run in tandem with a series of public debates, or critical conversations, that are being held through the summer on the other side of London at the Pleasance theatre. The sessions, staged in collaboration with Intelligence Squared, will be compered by the journalist Sophia Smith Galer.
Patarkatsishvili believes debate might be a more conventional way to develop critical thinking skills, but theatre can be more effective. “In its own way, this is what Storehouse aims to do; immerse audiences in a world where they decide what’s true,” she said. “The art of storytelling creates empathy and understanding in ways that facts alone cannot.” When audiences step inside, they’re not just watching a story – they’re living it. They’re forced to grapple with difficult questions about truth, power, and their own complicity in shaping narratives.
