We have always encouraged people to work together across theatre, film and television, so immersive storytelling seemed like the natural next step after our years of advocating that people transcend their sectors and take advantage of new digital tools.

So as part of the Stellar community, you won’t be surprised to hear that we’re very excited about the new wave of immersive stories- people coming together from traditional creative industries to work on stories that happens across different platforms, be they film, live performance, webseries, radio … and so on.

In future, collaboration and connection will be a huge part of the way we create and consume cultural content.  Immersive, interactive storytelling is a genre that’s exploding across the industries, and we’re putting our stake in the ground – we think it will shape the future for all of us.

To see why, look out for our Friday blog post which summarises some of the most exciting developments so far.

But what does this mean for the Stellar community? Well, this is an open playing field. The leaders of tomorrow are yet to be decided. Broadcasters, brands and production companies are desperately looking for ways to consistently access quality talent and content that works across multiple platforms.

We think that talent is already here – in our Stellar Network community.

So we’re now here to help you, the talented Actors, Writers, Directors and Producers from more traditional media, and get you connected with opportunities, training and conversations about the future of storytelling.

Ultimately, this is about you telling your story and getting it seen on as many platforms as possible, and Stellar Network is here to help you do that.

Scratch Interact is the latest venture by our very own Stellarite Sam Howey Nunn

Last week I went to Scratch Interact, a night of treats curated very properly by the lovely Glue Theatre in the in-between spaces of Southwark Playhouse.

Glue’s opener delivered a box that wriggled out a man who then – having failed beautifully to gather attention from the pre-show crowd – managed to get presents and sweets from many.

Deborah Pearson’s Break Up With Me invited you into a toilet cubicle with her to do just that, however you chose, delicately responsive to its own conceptual knots, beautifully poised.

‘The Minuting Hill Carnival’, a minute version of Notting Hill’s, refereed by a representative of the Honourable Society of Faster Craftswomen, who before she sold me a nugget of jerk chicken on a cocktail stick, made a joyful band of us playing tiny instruments. Gorgeous how just as much glee came from playing it tiny, it was the play that counted. Lovely and messy.

Emer O’Connor then delivered a piece of storytelling, at first staged and delivered to the back walls. Perfectly good performance but not at all responsive to us or the space, and her volume inevitably causing alarm to the theatre staff worried about the ‘main show’. As soon as we moved in closer so she was actually performing to us in the space with her, it suddenly came alive. Which raises very interesting points for me about liveness and scalability.

Emily Smallwood took a pair of us into the disabled toilet. One was sat down on a white towel and asked to listen through headphones to a recording of a story. The lights were then turned off. The other then shared an embrace with her in the corner. Then the lights back on, one was asked to record a story while the other listened, very close. This piece worried me and it’s still with me. I loved her assurance in the disjuncture of these elements, the light and darkness, the very living intimacy of the exchanges and near brutality in heightened awareness of the other people in the room. Fantastic sensibility.

Sam and Chris from Glue then led a lively round-table discussion for the good number of us present. But there should be more of us. This night is quarterly and make sure you make (something for) the next one.

To put yourself on the mailing list for Scratch Interact visit http://www.gluehq.co.uk