This week we're in L.A. and London, and funnily enough the gin activation is one of the two productions in Los Angeles.
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Hendrick’s Anotherland (Los Angeles)
Hendrick’s Gin
Free; May 29-June 1
Branded activations get a bad rap. What is advertised as an “immersive” activation – often located in a high end shopping area – ends up being a fun backdrop or two, some props and costumes on display behind glass, and a gift shop with merchandise available for purchase. So I’m heartened to report back that Hendrick Gin’s whimsical Anotherland earns the moniker of an “immersive experience.”
Los Angeles was the last stop on this boozy touring experience’s agenda and RSVPs to the free event disappeared within minutes; I myself was curious after I’d seen evidence that not only had the brand chosen to collaborate with Ilana Gilovich-Stossel, former Chief Storyteller at Emursive, but that former Life & Trust and Sleep No More NYC cast were also involved in previous versions of Anotherland. (It didn’t hurt that I had attended various Hendrick’s-sponsored events in the past and I generally enjoy the product.)
At Anotherland’s Los Angeles iteration, a large, dimly lit room at a private event venue in Hollywood was transformed into a lush, detailed set containing velvet curtains, comfy sofas, dusty bookshelves, candlelit sitting areas, and greenery as far as the eye could see. Gin-based cocktails flowed freely upon entry and patrons found themselves at what appeared to be simply a luxurious cocktail hour. Then, the performers arrived, clearing the center of the room before engaging in a short introductory dance, followed by an announcement about how to approach the night’s festivities. The room had been transformed into a sandbox, centered around the recipe of Hendrick’s newest expression, Another Hendrick’s, as well as the flavor profile of the original Hendricks’ Gin.
As expected, the signature drinks and passed bites were delicious. Some were simply available on trays brought out by the catering staff, while other themed cocktails were available in conjunction with an activity, guided by an original character inspired by the brand. Two Hendrick’s Apothecaries, Valencia and Forastero, played by Evelyn Chen and Parker Murphy, worked the crowd in flirtatious togas, approaching couples and playing a variation on the newlywed game; I was instructed that to play, we first had to seat ourselves on “the fainting couch” with a wink. I also soon found myself grinning from ear to ear playing dress-up with the glamorous Rosa (Kelly Ashton Todd) while sipping a white strawberry negroni out of a teacup, and then capturing my breath inside a tiny glass vial as we conducted a botanical-driven science experiment with The Cucumber Gentlemen (John Williams Watkins).
I was particularly fond of the charming Somniarch nestled in the corner, quietly singing into a microphone next to a faux citrus tree (musician Axel Mansoor, perhaps known best for his Lullaby Club on Clubhouse). The Somniarch’s station was accompanied by a refreshing champagne and orange sherbet concoction. While the performer was visibly speaking into the microphone in front of all, only a small few who were donning wireless headphones could actually hear what he was saying. The musician instructed us to close our eyes as he crooned soothing renditions of “La Vie En Rose” and “Dream a Little Dream of Me.”
Another memorable scene involved an interactive tasting ceremony and ritual with a performer. In small groups, guests were led by The Curator of Delights, played by Marla Phelan, through smelling a cacao bean that had been freshly crushed using a mortar and pestle, tasting a spoonful of rich chocolate mousse, and participating in a toast with a cacao martini, complete with a tiny slice of chocolate orange perched on its edge.
The character interactions in Anotherland were delightful while also communicating key information about the new product in a subtle way, making the form a good match for the goals of the event. The 45-minute runtime flew by, and as the finale began, I was just a little reluctant to leave this fantastical, sensory-packed world behind.
Anotherland set a bar that most immersive experiences struggle to achieve in the first place – proof that this kind of marketing, when done correctly, works.
— Kathryn Yu, Senior LA Reviewer & Executive Editor Emeritus
RETURN TO THE FOREST (London)
Theatre Rites and Gregory Maqoma
£18 Adults and £12 Under 16s, Sadler’s Wells East; 28-30 May
As we enter the studio of Sadler’s Wells East we walk into a museum. Guides stand by while we observe the various objects on display. A heart made of woven threads, a map of a forest, a ceremonial stick and mask.
Helpfully, considering the themes of this show, someone reaches out towards an object, before being reprimanded “no touching”.
As the museum closes for the night long red ropes are stretched, laser like, across the space.
Our dancers turned heisters crawl and spin their way through the museum, dodging the security camera in order to retrieve these objects. This done,we move into a new space of the forest to watch the performers use these objects to, quite literally, bring them to life.
Return to the Forest is a collaboration between Theatre Rites, an award winning company making experimental children’s theatre, and acclaimed dancer and choreographer Gregory Maqoma.
The performance uses a mixture of puppetry, dance and clowning to show vignettes using the objects. The security camera is given horns and the Ishoba ceremonial healing stick hangs as a tail from a coat of threads for two of the dancers to portray a cow. A puppet of an old man emerges from a large canvas map through the hole left by the cut-out forest map.
The performers (Xolisile Bongwana, Natnael Dawit, Mayowa Ogunnaike, Simon Palmer and Teele Uustani) are incredibly talented, moving with grace and purpose. The music is varied and beautiful with occasional live performances and singing.
Ultimately I do think, at about 90 minutes, this experience was too long, with nearly an hour while we sat and watched. I did spy some young faces putting their focus elsewhere and there was not much in the way of interactivity outside of occasionally having a child hold a piece of string.
Fortunately the final act of the show allowed us to stand up and move as well as offering selected children a chance to interact with some new items in the museum. Plus there was a big group dance at the end.
I found this a very beautiful piece with strong images that will stay with me and I hope that it might inspire a young audience to visualise how an object could be used in a variety of ways to make dance and movement as well as think about the ways that museums display their objects.
— Thomas Jancis, London Correspondent
Tea Party at the End of the World (Los Angeles)
Jessica Creane
$40; Hatch Escapes; April 30-May 14, 2026
Excerpted from our feature review:
With each sip, Creane draws the audience further under her spell. She might invite everyone to whisper their hopes and dreams into their cup, or contemplate their own death as they drink. At a few points, Creane goes to a shelf behind her filled with bowls of dry tea leaves and chooses one by some method only she knows. She then offers it to certain audience members to sniff and savor while they answer an impromptu question. Somehow it all makes sense within the confines of her pocket dimension. When she asks you to close your eyes, you willingly obey. The loss of one sense only heightens the others—the scent and taste of the tea, the feel of the warm cup in your hand, the recorded sounds that enhance Creane's guided meditation
– Read Cindy White's full review
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