Immersive Review Rundown: Love Is In The Air, And It’s A Mystery
The MIT Mystery Hunt, U2’s concert film at The Sphere, and interactive theatre in LA and Seattle (FOUR REVIEWS)


Our Toronto curator, Katrina Lat, has been on a bit of a tour lately and this time she’s filing from Las Vegas, Seattle, and Cambridge, Mass. Which is a really huge spread.
Meanwhile, in LA, Cindy White takes in the latest from Last Call Theatre.
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Ambrosia Incorporated — LIT IMMERSIVE
$45 — $145; Seattle; Until Feb 15
Ambrosia Inc., the up-and-coming energy drink company, is in dire need of temps. Luckily, we were part of a cohort onboarded the same day as their office party. Like any good corporate satire, the show has its fair share of workplace drama, but with a twist: all the staff are gods from Greek mythology.
Upon arrival, we were sorted into one of four corporate departments, each with its own quirky supervisor and set of responsibilities. In addition, we chose an overarching role: Puzzler, Explorer, or Socializer that allowed us to better tailor our experience. The night unfolded as a series of mini-missions, each tied to a department’s overarching goals. Our two upfront designations provided structure, ensuring everyone started with at least one clear and satisfying objective. However, the experience was also refreshingly flexible, allowing attendees to easily pivot to different quests, focus on enjoying the office party vibes, or simply revel in the corporate chaos.
Throughout the course of the evening, I helped craft the latest iteration of Ambrosia’s energy drink by sampling bizarre ingredients, uncovered hot office gossip, and tracked down Pan’s missing flute. However, my highlight of the night was playing matchmaker to two adorably awkward coworkers, Cass (Cassandra) and Hef (Hephaestus), who needed a little mortal intervention in the love department. With over 56 distinct quests built into the experience, plenty of room to explore additional dynamics between characters, and the chance to receive special “favor of the Gods” tokens from each character, there is plenty to do at Ambrosia Inc and a high replayability factor.
The show’s mythology-based corporate world made for a fun aesthetic, though at times it felt like a loose overlay rather than an integral component. Aside from the occasional reference to a character’s centuries-long career history, the gods and demigods largely behaved like eccentric office workers rather than celestial beings. In addition, office karaoke song-and-dance numbers scattered throughout the evening (the show is bizarrely marketed as a “musical”) consisted of cheezy parodies of pop songs that halted the flow, especially as the evening’s festivities were coming to a close and many conversations, loose ends, and matchmaking pursuits were still unresolved. Ambrosia Inc.’s biggest strength lies in its cast. With a dozen and a half actors embodying their roles with enthusiasm and razor-sharp improvisation skills, the experience was playful and reactive.
At the end of the night, despite our hard work, none of us mere mortals secured a full-time gig at Ambrosia Incorporated. But as far as office parties go, this one was a mythic success.
— Katrina Lat — Toronto Curator

Love Game — Last Call Theatre
$60; Los Angeles; Through March 2
Los Angeles is very fortunate to have an artistic collective as consistently creative as Last Call Theatre producing immersive theatre in our city in recent years. Since 2022, the company has been inviting audiences to become part of its fanciful, complex worlds with award-winning shows like The Collective and Pirates Wanted. Their latest offering, Love Game, is the company’s eighth production, and its first to be grounded in contemporary realism. While the seamlessness between the show’s setting and the outside world may make Love Game feel less transportative than Last Call’s more fantastical works, it also makes it supremely and effortlessly engaging.
As an audience member, you play the role of a “research assistant” in an experiment to study whether science can determine true love. Before the show, you’re invited to select a profile from a group of “singles” who have come to take part in a matchmaking event. Your assignment is to take notes on your designated single as they engage in a series of conversations, speed-dating style. Whether you follow these instructions is up to you. You can push your single in a certain direction, hop around and check in with other researchers, or abandon them entirely and chat up side characters like the MC or the bartender (admission includes a drink ticket, so you’ll have a good excuse). There’s even a karaoke machine set up so you can serenade the crowd if you’re so inclined.
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The show offers many different ways to interact with it — or not, if that’s more your speed — so the experience is completely in your hands. You may also be tempted to dig deeper and discover intel beneath the surface or wind up challenging the validity of the entire experiment. The audience can influence which singles end up together, or whether they pair up at all, so you could return on a different night and have a completely different outcome. The characters aren’t just cardboard cutouts but fully realized individuals inhabited so naturally by the actors it’s easy to get invested in their search for romance. The production’s use of The Virgil — a Silver Lake-adjacent bar with a cool, speakeasy vibe — as a venue further enhances the verisimilitude. It may get cramped and loud at times, but in the spirit of true immersion it’s real enough to make you forget you’re witnessing a work of fiction at all.
— Cindy White, L.A. Correspondent
MIT Mystery Hunt 2025: The Case of the Shadow DiamondFree; Cambridge, MA; Run concluded
MIT Mystery Hunt is a sprawling, multi-day puzzle hunt known for its mind-bending challenges and marathon-level endurance. This year’s organizing team, Death & Mayhem, encouraged hunters to experience the event in person. As a first-time attendee, I couldn’t have picked a better year to make the trek to Cambridge.
For the 45th edition of the hunt, ~5000 hunters across 220 teams were challenged to don their detective hats and dive into The Case of the Shadow Diamond. This film noir affair was inspired by the nursery rhyme “Hush, Little Baby”, with characters like Baby, Papa, and the titular Mockingbird. Solving all puzzles in a single story section unlocked “cutscenes”, where actors confronted us and unraveled the mystery’s central conflict.
This year’s Mystery Hunt also introduced the “Gala”, a space where teams gathered, “bartenders” served puzzles in exchange for key phrases, members of the “press” shared well-timed hints, and character actors helped progress the event’s overarching narrative. The energy was electric; at any given moment, people were celebrating puzzle breakthroughs, picking up physical artifacts, or inadvertently spoiling upcoming challenges just by being in the right place at the right time.
I chose to focus on the in-person portions of the Mystery Hunt’s whopping 170+ puzzles. Over the course of 2.5 days, I racked up 70k steps navigating MIT’s campus — often speedwalking, sometimes running, and in one instance sneaking around in a very unsuspicious Groucho Marx disguise.
Among the many standout puzzles, one stole my heart: a custom-built analog radio gifted to each team. At first, it played whimsical ads that doubled as clues and celebratory audio everyt ime we solved a puzzle, but as the hunt progressed a new capability revealed itself. A simple trio of knocks on the casing — an action given to us by completing another puzzle — unlocked a music puzzle where we played a variety of increasingly difficult tunes, culminating in a live performance of the Star-Spangled Banner to an audience of judges.
After a weekend of solving, running, laughing, and sheer frustration, my team Math + Vehem was one of only seven teams to complete the entire hunt before the Sunday 10 PM deadline. MIT Mystery Hunt 2025 was an exhilarating, exhausting, and absolutely unforgettable marathon of an experience. Between the incredible 170+ puzzles, the engaging live performances, and the camaraderie forged through collective problem-solving, it’s hard to imagine a better introduction to this legendary event. A big congratulations to this year’s winning team, Cardinality — I can’t wait to see what you create for 2026. And as for me? I’m already counting down the days until next year.
— Katrina Lat, Toronto Curator
V-U2 An Immersive Concert Film — The Sphere$78 — $193; Las Vegas; Until Apr 29, 2025
After experiencing both Postcard from Earth and the final evening of Phish’s four-night residency at The Sphere, I was eager to see if V-U2, a filmed version of the U2:UV Achtung Baby Live residency that ran from Sep 2023 — Mar 2024, might bridge the gap. Could a concert film, designed specifically for the unique venue capture the magic of a live performance at a fraction of the ticket cost?
In some ways, V-U2 succeeds. By this point, many of the show’s visuals have been well documented and shared. Despite this, the effect was infinitely more magical witnessed in the Sphere itself. However, it’s important to note that the visuals of V-U2 are not an exact replica of the live performance. Whereas in London’s ABBA Voyage the band is presented as lifesized holograms onstage, in V-U2 footage of the band and the first few rows of the audience are displayed onto the Sphere’s vast canvas. While this shift makes sense for a concert film, it also means that the visuals most prominent at eye level are shifted. This resulted in the band being more prioritized in my field of vision than they would have been in the original performance. As the sheer scale of the Sphere renders human-sized figures small, prioritizing their footage within this massive space felt at odds with the venue’s ability to create overwhelming, all-encompassing imagery.
However, the most immersion-breaking factor was the audience themselves — or lack thereof. The large swathes of empty seats in the venue were impossible to ignore, especially in stark contrast to the roaring, sold-out crowd of a U2 show. Adding to the dissonance was the film’s inclusion of recorded audience cheers and singalongs, at odds with the quietly sitting attendees. At one point there was a brief altercation between my seat neighbours. One party wanted to sing, chat, and react freely as if they were at a concert, while the other expected a more traditional film experience and berated the rowdy group. This interaction felt emblematic of the film’s overall struggle to define itself.
Ultimately, I found Postcard from Earth — a film explicitly designed for the Sphere’s format — more engaging. While it leans into the IMAX-like “venue showcase” genre, it at least embraces that identity fully. V-U2, by contrast, felt like a compromise. With that said, much of the audience enjoyed themselves, and I overheard plenty of positive chatter on the way out. The potential for concert films at the Sphere is vast, and I’m excited to see how the medium evolves.
— Katrina Lat — Toronto Curator
Discover the latest immersive events, festivals, workshops, and more at our new site EVERYTHING IMMERSIVE, home of NoPro’s show listings.
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