Performing Arts and Immersive Experience
2024, and the Data Behind a Fragile Revolution
ISSUE 8 • January 2025
By Marco E. Bruscoli, WolfBrown
2024 has been the most ambitious and turbulent year I’ve observed in the immersive experiences sector. While both boutique and major producers are making significant strides in methodically building the foundation for the next generation of entertainment, the market remains fragile, with an evolution that is proving difficult to interpret.
The first part of the last year was marked by several negative headlines, including the closure of Sleep No More in New York City, which, since its announcement, extended operations by over a year until January 2025. During the same period, industry press circulated numerous reports about the Sphere’s alleged financial underperformance. This remains difficult to verify given the numerous sold-out shows, particularly Anyma’s late December shows, which consistently sold out within hours and added seven additional dates – a clear indication that quality products drive ticket sales. Additionally, there’s the recent news of Meow Wolf reducing its workforce by 20%.
Throughout all this time I’ve frequently reflected on a statement by Charlie Miller, Executive Director and Curator for DCPA’s Off-Center programming, during The Immersive Immersive conference that particularly resonated with me: “The first generation of immersive experiences is concluding, and another is beginning.”
At Immersed in the Future, we’ve been exploring fundamental questions about our engagement with non-profit arts organizations: how can we effectively integrate next-generation immersive experiences into traditional performing arts? More critically, what strategies can we implement to avoid repeating past missteps in this dynamic landscape?
