LEO DOULTON

Last week (here: https://www.leodoulton.com/post/genre-as-onboarding) I mentioned that I wanted to write an article about this. And so I...

This article is riffing off the above Chloe Mashiter Tweet, especially a conversation in the comments about being a Tourist or a Resident...

A while ago, I was on an interactive theatre training course which mentioned that many mechanics (i.e. ways the audience can influence...

So, London boutique immersive theatre now has a second space to join the much-loved Colab Tavern: the Parabolic Crypt. Both are amazing...

This is the seventh in a seven-part sequence of blogs going into the work on Come Bargain With Uncanny Things done during my Creative...

This is the fifth in a seven-part sequence of blogs going into the work on Come Bargain With Uncanny Things done during my Creative...

This is the fifth in a seven-part sequence of blogs going into the work on Come Bargain With Uncanny Things done during my Creative...

This is the fourth in a seven-part sequence of blogs going into the work on Come Bargain With Uncanny Things done during my Creative...

This is the third in a seven-part sequence of blogs going into the work on Come Bargain With Uncanny Things done during my Creative...

This is the second in a seven-part sequence of essays going into the work on Come Bargain With Uncanny Things done during my Creative...

This is the first of a seven-part sequence of essays going into the work on Come Bargain With Uncanny Things done during my Creative...

First: it worked. You can make an opera without a score, where the audience have genuine control of the outcome, which can adapt to...