The immersive show is booking until the 20th September.
WhatsOnStage: “Storehouse works best when it’s leaning into a darkly whimsical energy and centring human moments of connection over complicated lore and heavy-handed messaging. But despite its problems, it’s a physically impressive show with a talented cast and should be welcomed as an intriguing new player in the immersive scene.”
The Guardian: “Some actors bring a little more depth to their character, especially Harriett O’Grady as a stacker (responsible for organising shelving of data) along with Chris Agha and Dawn Butler as bookbinders. It all comes together around a giant inkwell, when the plot is revealed in what seems like a Scooby-Doo style ending, with motives and culprits fully explained amid rather too basic reasoning.”
The Telegraph: “The pet project of a Georgian billionaire, Storehouse is about as informative – and fun – as being trapped in a Reddit thread.”
Everything Theatre: “Alice Helps‘ room sets are glorious, intricately built and full of surprises, from the book-encased one-arm bandits that generate three-word phrases to the hundreds of custom-built wifi-controlled lamps that you take on your travels. Culminating in a walkway that reveals the entire vast space from above, the show is big on spectacle.”
The Reviews Hub: “It comprises an effective conversation starter for families with youngsters born after 1983 who only know life post-internet, but all generations, whatever their relationships to the digital or analogue worlds, might find something here to entertain. The chance to visit Murdoch’s old shed, where he used to keep his mucky newspapers, is a lure in itself. It’s also magnificent to see what can be built in the real, physical world with human creativity, willpower, and imagination. It’s Deptford, Jim, but not as we know it.”
All That Dazzles: “It’s hard to point to what’s gone wrong; a talented writing team run by the whip-smart Donnacadh O’Briain seems to have landed on a piece that still feels like a first draft. There’s the sense that everyone involved feels like they’ve changed the world with STOREHOUSE. With its multi million pound budget (likely enough to lavishly fund every single London pub theatre production for the next decade and then some), it is poor.”
Time Out: “There is potential in Sage & Jester: a massive space, talented creatives, and presumably a lot of money. If this isn’t just a one off vanity project, better days may lie ahead. But it’s not misinformation to say that Storehouse is a very ropey start.”
Theatre & Tonic: “The real protagonist in this production is the design because it creates a universe that is absorbing, disorientating and alarming. However, the residual impression is that a lot more can be said with a lot less.”
To book tickets click here.