'Storehouse' review — this new immersive theatre show has sky-high production values and a topical subject

Read our review of immersive adventure Storehouse, now in performances at Deptford Storehouse to 29 June.

Immersive theatre is bigger than ever in London. Right now you can hop on board the You Me Bum Bum Train, battle a Martian invasion at War of the Worlds, or join the Pink Ladies and T-Birds at Secret Cinema's Grease: The Immersive Movie Musical. So, when a new kid arrives on the block, it has got to do something truly special to stand out. And Storehouse, the brainchild of the new company Sage and Jester, certainly has the money behind it to make it a theatrical marvel. But, even with sky-high production values, sadly, the result is all spectacle and no soul.

Set in an abandoned warehouse in the depths of Deptford, the production is sold as a cautionary tale about misinformation. Since 1983, the dawn of the internet, all of humanity’s stories have been archived here in a physical database underground, in the hope that January 1 2025 would bring a new age of truth. Surprise, surprise — that never quite happened.

We are split off into small groups on arrival and shuttled from room to room. All of it is visually dazzling; Alice Helps’ design is a saving grace. First, we enter hospital-green waiting rooms with cushioned armchairs to rest in. Then, a big 80s-inspired workroom, where we meet bookbinders who have dedicated their lives to bounding data for Storehouse.

The most impressive, though, is a collection of white igloo-like domes that look woven into shape by strips of cotton wool. We journey through tunnels and forests, hearing the building whisper secrets (in a haunting sound design by Ben Donoghue) as we go.

Why we’re here, though, is anyone’s guess — because the actual plot of Storehouse is a headache. Apparently, it is our job to solve Storehouse’s increasing data problem. But, beyond the actors telling us to pick up a few lanterns and listen to the sounds in the walls, we have no purpose. Our final takeaway is that misinformation is dangerous, and we should all be hopeful —hardly new or insightful stuff.

Sure, there’s a killer cast involved; Kathryn Hunter, Toby Jones, Meera Syal and Billy Howle are enough to make anyone swoon. But mostly, they appear as voices or in photographs, as the memory of the original founders of Storehouse. Their presence would be welcome on the ground, as the rest of the actors are strained performers at best.

It is a missed opportunity, as the premise is ripe for something urgent, strange and affecting. Instead, the key issues are buried under theatrical fluff. Storehouse is certainly a triumph in scale and vision. But to really succeed, immersive theatre needs an equally compelling story.

Storehouse is at Deptford Storehouse to 29 June. Book Storehouse tickets on LondonTheatre.co.uk.

Photo credit: Storehouse (Photos by Helen Murray)