A.K. Wregg's immersive cocktail adventure opens new frontiers for interactive theatre
The boundaries between audience and performance continue to dissolve in contemporary theatre, and few artists have pushed those limits as successfully as A.K. Wregg. Following the international success of The Alice: An Immersive Cocktail Adventure, Wregg returns with Dorothy in Oz, a world premiere that promises to transform Marrickville Town Hall into the magical land of Oz for Sydney Fringe 2025.
This latest venture marks a significant moment for the Sydney festival's landscape, serving as the headline production for the brand-new Cabaret Hub at Marrickville Town Hall. The historic town hall provides the perfect canvas for the kind of environmental storytelling that defines Wregg's work. The transformation begins before audiences even enter the main performance space, with the foyer reimagined as a Kansas-themed bar where the journey begins.
Wregg's approach to L. Frank Baum's beloved universe goes beyond simple adaptation. Rather than retelling the familiar story of Dorothy's first adventure, this experience positions audiences as guests at Princess Ozma's birthday party, immediately establishing them as active participants rather than passive observers. This narrative framework allows for the kind of genuine interaction that separates quality immersive theatre from mere gimmickry.
The decision to draw from Baum's broader Oz canon rather than limiting the experience to the familiar MGM film opens up possibilities. Characters like the wicked Mombi and Princess Ozma come from the later books in the series, offering longtime Oz enthusiasts the chance to encounter beloved but lesser-known figures while introducing newcomers to the depth of Baum's created world.
Wregg's emphasis on puzzle-solving and character interaction promises the kind of agency that distinguishes the best immersive experiences from elaborate dinner theatre. When audiences are genuinely required to think, problem-solve, and make choices that affect the narrative, the artificial barriers between performer and spectator begin to break down in productive ways.
The venue transformation extends beyond mere decoration. Moving from the sepia-toned Dorothy in the Kansas bar through to the colourful world of Oz creates a physical journey that mirrors Dorothy's original transition.The audience "experiences" rather than simply witnesses the shift from mundane reality to magical possibility.
Sydney Fringe's decision to centre its Cabaret Hub around this production reflects the festival's commitment to supporting innovative Australian theatre makers. Artistic Director Patrick Kennedy's enthusiasm for launching the Hub with such an ambitious work signals confidence in both the production and the broader potential for immersive theatre to find mainstream acceptance.
The inclusion of stage magic as a key element adds another layer to the show. In an age of digital effects and virtual reality, there's something particularly powerful about live magic that happens in real time, in shared space.
Dorothy in Oz represents an evolution toward more participatory forms of entertainment. As traditional theatrical boundaries become increasingly porous, productions like this point toward possibilities for audience engagement that extend far beyond conventional drama.
Sydney Fringe always offers audiences the chance to experience something genuinely new. In this case, not just another interpretation of a familiar story, but a fundamental reimagining of how that story might be told.
Dorothy in Oz: An Immersive Cocktail Adventure runs at Marrickville Town Hall from September 3-28 as part of Sydney Fringe 2025.
Tickets and more info: https://sydneyfringe.com/events/dorothy-in-oz/
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