“I arrived at Immersive experiences from the direction of art for activism. It’s been a key focus of my work since 1997. My central motivation of mobilising audiences through active participation led to threatre productions using game-elements and responsive narratives when there was not yet a vocabulary for this type of work. I was informed by training in Boal’s Forum-Theatre, staging Situationist interventions and absorbing Bakhtin’s notion of Carnivalization.

In 1998 I co-founded Dublin performance company Spacecraft, creating a series of immersive shows and founding Glastonbury’s Underground Piano Bar (1998- ), one of the UK’s first immersive festival environments.

Wearable-tech performance project Sonic Sideshow, co-founded with Nathaniel Slade in 2008, gave me valuable experience staging live, tech-supported interactions, and employing technology to enhance audience experiences.

This informed development of The Apocalypse Gameshow (2007-14), an immersive black-comedy where players competed to survive end-of-the-world scenarios.

The Apocalypse Gameshow was my first testbed for tools supporting personalised audience interaction. We evolved a basic Computer Aided Theatre system for the show, harvesting data from players, online and in real-time, which informed a responsive on-stage show, and improved one-on-one actor-audience interactions.

This show, and the tech development supporting it, came from a desire to speak directly to individual audience members and utilize the liveness of theatre to mobilise them around urgent social issues.

To develop these tools further, I sought support within the arts, instead securing innovation funding in 2016 and founding Computer Aided Theatre Ltd (CAT) to develop a set of commercially available tools addressing recurring formal limitations and challenges facing  immersive event producers.

Currently CAT is focused on securing larger scale collaborations and commissions in the independent festivals sector, helping festival producers enrich their immersive entertainment offering, and improve their audience communications. CAT are also open to theatre and experiential collaborations, and opportunities to work collaboratively in play-testing new tools with actors.

I also take on freelance creative-direction, art-direction and experience-design work on immersive projects.”