Virtual Arena #18 – Immersive Performance

In this latest column, we look at the emergence of immersive audience engagement, using both virtual and mixed reality technologies. Far beyond the limitations of consumer VR applications – the ability of interacting in groups offers a new dimension to immersion, and points towards a possible theater and exhibition-based future of XR. The need for physical engagement the special element that defines the new level of immersive experiences sweeping the international attraction, stage and exhibition scene.

Shared VR

The technology advantage of “Shared Reality” (SR) applications, offers the ability for groups and audiences to enjoy the experience together sharing the immersion and narrative. While the ‘Big Screen’ consumer VR experiences have proven one of the recuring popular consumer VR applications across platforms. The ability to enthral actual large audiences, beyond low quality disembodied heads, has enthralled audience members to the new generation of experiences and exhibits. As we reported in previous coverage on VR exhibits, the ability to share a group experience has proven a strong draw for amusement and attraction venues. And the latest commercial VR technology (location-based virtual reality) is driving the latest phase of Shared Reality deployment.

Most recently, PortAventura World – the Spanish theme park announced the launch of their first XR experience called ‘Hysteria in Boothill’. Groups of six guests take part in what has been dubbed a paranormal adventure, comprising physical and virtual elements. The attraction has been developed to employ VR headsets, with Mixed Reality (MR) capability – in the case of this installation using customized Meta Quest 3 headsets. Guests traverse the whole of the 200-sq.,m., environment, interacting with the immersive experience – that has been developed for the park by studio Spatial Voyagers.

This follows a short history of other deployments in theme parks of audience-based VR experiences turned into attractions. One of the first was Thorpe Park and their innovative, but early, ‘Derren Brown’s Ghost Train: Rise of the Demon’. First opened in 2016 this attraction included live actors, and themed environments all connected by a VR ride element enhancing the haunted train car experience. Early versions of the HTC VIVE headset, tethered to give a virtual illusion of still residing in the train carriage during a supernatural attack. Developed by park owners Merlin Entertainment and Figment Productions, working within the limitations of the then hardware of the time, and sadly not representing the other guests within the virtual experience, (negating a key factor of shared reality experiences).

Large Audience VR

The technology of commercial VR has evolved greatly from that point and tethered VR systems have been superseded by the rise of wireless free-roaming arena experiences. These platforms can offer large audience throughput beyond the limitations of consumer VR applications. One such example of this approach is seen from Felix & Paul Studios – one of their divisions, working with PHI Studios, responsible for creating the award winning ‘Space Explorers: THE INFINITE’. A standalone attraction, enabling guests to virtually explore the International Space Station wearing modified Meta Quest headsets for audience engagement. An attraction that has seen some 400,000 visitors since opening in 2022, first in Canada and traveling through other major cities Internationally.

This experience saw a companion app created called ‘Space Explorers: The ISS Experience’, for consumer application on the then Oculus Quest headset. Felix & Paul Studios announced in 2024 that they had secured strategic financing from Export Development Canada (EDC), The Bank for Canadian Entrepreneurs (BDC), the Société de développement des entreprises culturelles (SODEC), and National Bank of Canada’s Creative Industries Group, for its largest production to date. What was called their most ambitious project yet, a location-based VR (LBVR) experience-based on a brand-new IP set to launch in 2025. And again, this would focus on large groups of simultaneous VR users immersed within the experience.

The drive to create audience based – shared – environments define the very heart of the new immersive experience in deployment internationally. Developed by Univrse, one such example of a large audience simultaneous VR experience is based on the ancient city of Pompeii and the buildup and aftermath of the horrific eruption. Called ‘The Last Days of Pompeii: The Immersive Exhibition’ the experience combines actual artefacts from the dig site, an atmospheric projection mapped gallery, and a free-roaming VR experience through a roman villa at the site, recreated in all its glory.

The free roaming element of the experience builds on Univrse architecture that can accommodate large numbers of users within a virtual environment. Users wearing HTC Focus 3 headsets and supported by the platform that has accommodated over 2,000,000 visitors at installations Globally. The Edutainment (marriage of education and entertainment) experience has proven successful with audiences. Opened in Madrid Artes Digitales, in 2022, located in their Immersive Experience Centre. The developers also having created for Barcelona its own exhibition ‘Pompeii, the Last Gladiator’. Univrse working on new exhibits based on their platform that build on the VR shared environment.

Developer Emissive, has championed their interpretation of shared immersive environments, which they have defined as “Immersive Expeditions”. With several installations to their name, the company has recently partnered with The Muséum National d’Histoire Naturelle towards creating ‘Life Chronicles’. The free roaming VR experience, able to accommodate groups wearing HTC Focus 3 headsets, within the UK’s first 1,000-sq,m, experience of this kind (the pop-up installation currently located at the Westfield Stratford mall in London).

Offering the guests a 45-minute adventure through the emergence of life on the planet, traversing the Cambrian period and Cretaceous era, interacting with the dinosaurs and other creatures of this period. Emissive having also developed exhibits such as allowing guests to explore the history of Notre Dame Cathedral or discover the Great Pyramid of Giza. These audience driven virtual expeditions offering a unique group engagement – touring numerous cities.

VR Role Player

The mixing of physical elements virtual reality and even live actors (including the application of Live-Action Role-Playing – “LARP’ing”), all creating strong audience-based experiences. This can be best seen with the rise of Layered Reality, famous for their ‘War of the World’s’ immersive adventure based on the Jeff Waynes’ Martian invasion – and the historic ‘The Gunpowder Plot’. Audiences navigating the atmospheric stages populated with real actors progressing the narrative. The experiences interspersed with actual VR attraction elements – guests wearing headsets to view the immersive tableau, be this crossing the Thames of 1605, or viewing a mighty Martian war machine embroiled in an epic battle with a Victorian warship.

The development of immersive experiences has now progressed into the realm of audience-based engagement traversing the lives of the famous, allowing guests to be immersed within their story. And Layered Reality, working with creative agency Hey! What?, have revealed their next project. Called ‘Elvis Evolution’ – this state-of-the-art multi-sensory celebration of the artists life and musical legacy. An event that will depend on a Shared Reality experience technology ranging now towards Augmented Reality (AR) and holographic projection. The company working closely with the estate of the music legend, towards creating a unique attraction that will be touring numerous cities, after launch next year.

The ability for the audience to relive a popular performance has also been developed by MACK One. Deployed in Germany’s largest theme park – Europa-Park, ‘The Phantom of the Opera’, is a re-creation of the world of 19th century Paris’ ‘Opéra Populaire’ from the stage musical. Guests wearing HTC Focus 3 headsets traverse the opera in a pre-show element before jumping aboard their signature VR rollercoaster developed by the company. Based on Andrew Lloyd Webber’s musical, with special music created for the attraction – this is the first virtual interpretation of the IP. Launched this year, the experience offers a unique way for the audience to be engaged.

Immersive Performances

From special performances to audience events, the use of Shared Reality technology as a new form of music event experience, was seen in several hologram-based stage performances, (using technology covered in our feature looking at “Peppers Ghost”). Along with the highly popular Japanese holographic pop star ‘Hatsune Miku’ – created by Crypton Future Media. Representing a “Vocaloid” – synthetic singing voice captures through software. The million-song selling virtual Avatar, singing sensation, first hitting the stage in 2007.

A shared audience experience for a virtual actor (Vactor) proving a highly compelling experience linked to an immersive stage performance. It was this and other applications that fuelled the development of ‘ABBA Voyage’. An audience experience using state-of-the-art lighting and projection, achieving holographic representations of the supergroup members placed in its own purpose-built “ABBA Arena” space. Supported by a real 10-piece instrumental band on stage. The digital experience and holographic captures of the performers (dubbed “ABBAtars”) all developed by ILM. Launched in 2022, the sold-out London event is soon to tour its next destination, ending this current tour in 2025.

The audience Shared Reality approach has been taken to new hights, with the launch of the COSM venue concept. The first facility opened in 2024, in Los Angeles, offering an immersive sports and entertainment environment. A giant 87-ft., wrapround LED 12k screen immerses the audience watching, from their own corporate box style tables, enthralled in the live sports, captured remotely and represented on the vast display, as if actually there in the “best seat in the house”. The operation focused on the Shared Reality approach, placing the audience members in a unique and compelling environment without the encumbrance of technology. Where consumer applications of 360º & VR sports watching, and live performance has stumbled (missing that all important authentic audience participation). The venue is also utilized for music performances and in a series of licensing agreements, COSM has signed Cirque du Soleil to produce special performances for the Shared Reality environment. COSM announcing a raise of some $250m towards opening several venues in the coming months.

This is the type of enthralling immersive large screen performance that was seen with the MSG Sphere in Las Vegas. Likewise, we have seen other venues look towards enthralling groups of guests within projected immersive experiences, such as with the Edutainment-based exhibitions such as with FEVER’s contemporary art experiences such as the ‘Van Gogh: Immersive Experience’ and ‘Dalí Cybernetics: The Immersive Experience’. Engulfing guests within a projection mapped environment, allowing shared adventures and a unique way to present a narrative. Deployed internationally, many see these edutainment exhibitions as the future of museum and gallery spaces.

Immersive Agency

Towards the future of these applications, is the vital need for the inclusion of agency for the audience. The fundamental aspect of immersive technology is the ability for the individuals interacting with the narrative. This agency is missing from movies but is achieved through audience participation to a point. The new immersive technology employing social engagement through shared reality achieves this. One of those operators of immersive projection style venues is Illuminarium – having opened four of their “immersive theaters” in North America.

Previously focused as a passive walk-through approach to shared reality engagement. Has now started to invest in agency-based experiences away from their previous curated content. We have seen the installation of ‘Lite-Bright: World of Wonder’, based on the Hasbro toy IP that adds an interactive element to the walk-through experience, guests’ movements tracked and represented in the experience.

Agency within multiple player experience has been achieved with virtual reality systems to a point, though the encumbrance of the tech limits their application. New development has been seen, such as from amusement developers Valo Motion, with their audience based ‘ValoArena’ system. Up to six players placed into the mixed-reality immersive enclosure. Through Computer Vision the guests’ movements and their likenesses are placed into the game experience creating compelling social fun. One social media feed of player enjoying the experience going viral with over 21 million views on X (formally Twitter). Active engagement in the new generation of immersive entertainment supporting the shared experience.

Announcement of another Computer Vision, MR technology deployed came with news of the ‘MERGE’, a platform developed by M3D Technology and District Cinema. Offering a means to place the guest into the game experience and track and represent their movements seamlessly into the virtual space, with no needs for controllers or wearables. It is the ability for the guest to feel engaged within the virtual experience that will drive the next generation of immersive enclosures. Tracked guest agency, placed directly in the narrative will drive not only attractions by the new audience-based performance and exhibition developments.

What we have defined previously as the “Digital into Physical” (or vice versa), the ability for the digital realm to be touched and interacted with by not just individuals, but groups, will define the next generation of immersive entertainment platforms in this burgeoning sector. This concludes the latest snapshot of developments in the immersive Out-of-Home entertainment landscape, our next feature will follow shortly.