I wrote and directed The Horrifically Real Virtuality — the first social immersive VR theatre experience, where ten spectators share the same virtual world at the same time, each represented by a full-body avatar. The spectators are plunged into a film set directed by a reincarnation of Ed Wood — played by a live actor on the physical set — alongside Bela Lugosi, whose digital double is performed in real time through motion capture. They touch real objects that exist simultaneously in the physical set and the virtual world. They interact with the characters — and with each other. And the narrative shifts: what begins as a charming, clumsy film shoot gradually slides into something stranger, more unsettling, where the boundary between what is real and what is virtual dissolves entirely.

Every performance is unique. The actors — whom I call “reactive actors” — adapt their lines, their behaviour, their improvisation to each group. A shy spectator will be gently drawn in. A bold one will be challenged. And at some point, every spectator experiences a one-to-one moment with one of the characters — because I learned from immersive theatre that nothing leaves a deeper imprint than being singled out in a crowd.