PERSPECTIVE
The Outer Limits
Journeys to the farthest reaches of interactive entertainment
ALEX SPENCER
Since the first paragraph of the first instalment of The Outer Limits, I’ve been joking about how much time I now seem to spend in derelict warehouses, generally in the vicinity of London’s Docklands. So it’s a little hard not to feel as though I’m being targeted by Sage & Jester, a new immersive-theatre company whose debut show is titled, simply, Storehouse.
Confusingly, that’s also the name of the Deptford venue where it takes place, the most warehouse-y warehouse I have ever laid eyes upon. It’s an enormous slab of angled metal painted sickly green, set in a 21,000-squaremetre patch of concrete being gradually reclaimed by nature. Apparently the building itself was formerly used to store Rupert Murdoch’s newspapers, but you can’t exactly hold that against it.