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The article provides information on First Person Travel, a travel agency in which the itinerary is created by game-designer artists that uses aspects of immersive theater. It covers the creation of First Person travel by game designer Gabe Smedresman and writer, film director, and actor Satya Bhabha. The author goes on to detail his trip to San Francisco, California through the agency where he was tasked with finding a stolen horse.

The author discusses the trend of participatory theatrical shows and recounts her experience participating in a number of these shows in New York City. Shows discussed include "Houseworld," at Brooklyn's San Damiano Mission, "Sleep No More," in Chelsea, "Then She Fell," in Williamsburg, Brooklyn, and "Take Care," at the Flea Theater.

The article presents a review of Michael Girts, T.J. Shanoff, and Mike Descoteaux's musical "Blank! The Musical," directed by Shanoff, starring Katie Dufresne and Nicole C. Hastings, and staged at the New World Stages theater in New York City through December 14, 2014.

The article presents a review of the participatory theatrical production "Trade Practices," directed by Kristin Marting, featuring writing by Erin Courtney and Qui Nguyen, starring Brooke Ishibashi and Daniel Kublick, and staged at Pershing Hall on Governors Island, New York through September 21, 2014.

The article discusses the Bard-in-bar boom, or performances of classical plays held at bars, focusing on how these performances are putting a twist on the plays and bringing them to a wider audience. Other topics include performances by companies including the New York Shakespeare Exchange, the Drunk Shakespeare Society, and Shotspeare, audience participation in plays, and incorporation of improvisational comedy.

The article discusses a trend of bars in New York City offering interactive theater experiences as of July 24, 2014. Topics addressed include "Play/Date," an interactive theater experience hosted by the Fat Baby bar; the play "Clown Bar," staged at the Box burlesque-style nightclub; and the "Drunk Shakespeare" interactive production at Quinn's Bar and Grill.

The article discusses several performances and exhibitions held in New York City that feature sleep-oriented immersive audience experiences as of May 16, 2014. The author describes director Jim Findaly's production “Dream of the Red Chamber: A Performance for a Sleeping Audience," in which the audience is encouraged to sleep during the performance in New York City's Times Square, as well as museum sleepover events.

The article discusses the author's participation as an audience member in the play "The Suit," performed at the Harvey Theater of the Brooklyn Academy of Music in January 2013, despite being a theater critic. Topics include an overview of the culture of theater critics, a discussion of the use of audience participation in live performance theater, and the psychological aspects of viewing a play from an audience participation role.

The article presents a review of artist Fernando Rubio's participatory theatrical production "Everything by my side," directed by Rubio, starring Kate Douglas, and staged at Pier 45 in Hudson River Park, New York City as part of the Crossing the Line arts festival through September 28, 2014.

The article focuses on artistic director of the American Repertory Theater (A.R.T.) in Cambridge, Massachusetts Diane Paulus. Topics discussed include examples of unconventional shows directed by Paulus, such as "The Donkey Show" and "Sleep No More," brief biographical information, the incorporation of audience participation in her shows, and her comments on how being a theater director is like being an entrepreneur.

In the land of the blind -- as you learn in the exhibition ''Dialog in the Dark,'' which opens on Saturday at the South Street Seaport -- the one-eyed man hasn't a chance. The genius of this presentation -- more a form of participatory theater than an exhibition -- is that for the hour or so it takes to make your way through its mysteries, you really are blind. [ABSTRACT FROM PUBLISHER]

It feels like a historical inevitability: scavenger hunts, cinema, the game of Clue, video and the iPod (well, Microsoft's Zune media player) have converged in ''Suspicious Package,'' a distinctly 21st-century form of participatory theater. By participatory I don't mean sitting in the front row and being called to the stage or getting splashed by the actors. No, this is wearing a prop and reading lines and following stage directions -- with the stage being three Brooklyn blocks, that is -- from a Zune. When making a reservation to attend, you choose to portray one of four roles: the Detective, the Producer, the Showgirl or the Heiress. (That's right: only four people join in at a time.) The ''cast members'' assemble at the Brick Theater in Williamsburg and meet Gyda Arber, the exuberant actress-director who, with her mother, Wendy Coyle, conceived this novel hybrid. (Some have called it iPod noir, but is that right? Shouldn't it be iNoir or something? And now that I think of it, can this be called a theater review if I took part?) Ms. Arber asks the ''performers'' to introduce themselves and answer a mild question or two. [ABSTRACT FROM PUBLISHER]

The article presents an analysis regarding the show launched at the Buena Park, California transforming the story of jousting knights and feasting kings. It states that the actors in the show connect with audience members making them feel like part of it. The artistry of the sword fights as well as audience participation overshadowed any recognizable changes to the script.

Reviews the show 'Sing-A-Long Sound of Music,' which encourages the audience to sing along with the actors.

Reports on the use of musical mega-mixes at the end of stage performances that producers hope will leave the audience feeling more upbeat than they did at the end of the show itself. Some of the Broadway shows that use mega-mixes; Reaction by some audience members.

Speaks of the Revels, a non-profits interactive theater group founded by John Langstaff and his daughter Carol. The role of audience participation in Revels performances; How the author was introduced to the Revels; Comments from Langstaff; The sense of community invoked in the performances.