Discover what critics have had to say about this latest immersive show to play in London.

(c) Mark Senior ***** “It’s a heady and head-spinning experience to be so fully immersed in the world and characters of a show you have loved and watched for years on television. The beautifully recreated sets and costumes are as impressive as the performances and provide endless delights, big and small, at every turn.”

Evening Standard: **** “There’s a remarkable amount of freedom – perhaps a bit too much. At any given time, you can choose to take part in any one of a dozen different things happening around the venue. In one room, Arthur is having a fight with John; in another, the Italians are ushering people into their top-secret Eden Club to extort information from the guests; in yet another, Grace is getting people to help her pass a secret message to Tommy.”

The Guardian: ** “Lovers of the TV series may be content to drink in the period detail and atmosphere. But it has none of the slick intelligence of that show. There is a brooding set designed by Rebecca Brower and an infectious score (music by Barnaby Race and sound design by Luke Swaffield for Autograph) but it’s not enough to sustain us for two long hours, and it comes to feel like we are in one of Camden’s many crowded pubs, with Peaky Blinder knobs on.”

Time Out: * “To restate what I said at the beginning: if you want a Peaky Blinders fancy dress party then this is fine. But I’ve been asked to review it as theatre, and it is bad theatre, in the way that a pack of sausages is bad theatre or a spoon is bad theatre. It promises to immerse you in a thrilling gangland adventure, but actually it’s barely more than a very expensive theme bar. If this is the Shelby gang’s attempt to take over London, then I don’t think London needs to worry too much.”

(c)Mark Senior

The Metro: ** “Yes you can answer the phone to an associate or place a bet at the bookies or chase after a Shelby into a dark corner, but the story is so loosely stitched together and the set-pieces so sporadic it felt like every time I jumped into the swimming pool of mystery I’d got out and dried myself off again before anything else happened.”

Broadway World: **** “A name like Peaky Blinders: The Rise suggests that there is more to come on this front from Immersive London; the plot lines in this ambitious outing come from the first two seasons so it wouldn’t be an unpleasant shock to see a successor. While not being as polished as the long-running Great Gatsby, it brings a heady energy which envelops from the get-go as well as (if you can find them) more engaging set pieces, even for those who have steered clear of the TV show.”

The Telegraph: ** “This stage spin-off from the all-conquering TV drama series, at the atmospheric Camden Garrison, looks great but is narratively muddled.”

WhatsOnStage: *** “Initially, Katie Lyons’ script seems like a load of shouting and bawling but stick with it as a story does emerge and, in fact, the show is more plot-driven than most other immersive pieces. This one has a definite beginning, middle and end, and the audiences are corralled into the large spaces of Rebecca Brower’s astonishing set design to ensure that major incidents are not missed, even if pieces of vital information don’t always make it through the rollicking chaos.”

(c)Mark Senior

The Upcoming: **** “As such, Peaky Blinders: The Rise is an interesting experience that is very appealing to a certain type of audience. Clubbers and lovers of the 1920s will appreciate the ambience and the music, and Peaky Blinders fans will love getting their fix. A solid piece of escapism throughout.”

The Reviews Hub: ** “But there are too many people in the space – it seems hard to believe that there were once 280 people thronging Camden Garrison in early previews before Immersive Everywhere cut numbers. And with some audience members dressing up, it’s not always easy to discover the actors. It’s directed by Tom Maller, who also directed the equally overcrowded Dr Who: Time Fracture, and both privilege style over story. Parts of Rebecca Brower’s design are in perfect symphony with the TV series, but they don’t make up for the lack of narrative drive.”

London Theatre1: ***** “It’s a brilliant concept, bought thrillingly to life and the audience felt entirely united behind Tommy and his dream of glory. It is impressive to see the loyalty a corrupt but charismatic lad with a dubious haircut and an expensive-looking waistcoat can conjure – but conjure he does – so go, dance, drink, conspire and be sensationally grateful to be part of the magic.”

London Unattached: “The production is truly immersive and there are plenty of opportunities to get interactions with the cast of characters who never break character even when you have special requests such as asking for directions to the loo. However, this production may also include depictions of post-traumatic stress disorder, suicide, drug and alcohol abuse and contains violence, weapons (including guns), smoke, loud noises, and strobe and flashing lighting. There were really intense scenes and at one point there was fake blood which could potentially be triggering for some, but to me it was just five star theatrics.”

(c)Mark Senior

The Stage: **** “This immersive adaptation of the hit TV series find that sweet spot between night-out style entertainment and impactful storytelling.”

Pocket Size Theatre: **** “At the end of the night, despite some inconsistency with the gameplay, Peaky Blinders: The Rise will give you a night to remember and a damn fine party if you let it. For fans of the show, this is as close as you will ever get to it. Chose whose side you are on and let the underworld take you over. But if anyone asks, remember, you are a baker!”

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