The word 'immerse' is defined by the Merriam-Webster dictionary as "to make (oneself) fully involved in some activity or interest." “A Literary Bestiary” was marketed as a responsive and engaging entertainment site. The curator and founder of the project has insisted on using the term "exhibition" and in all previous communications with the media and the general public, the labels "immersive" and "site-responsive" have not only been attacked, but highlighted as a strong point. As a co-producer, I found it difficult to defend the choice of the immersive label when the production was, in my opinion, a literary event with small bursts of theatricality that could be argued to have similarities to promenade theatre. To facilitate my argument, I will compare definitions of immersive theater, provide examples of other practitioners presenting immersive works, while drawing comparisons to the artistic choices of “A Literary Bestiary.” The concept of interactive and participatory theater such as immersive theater experiences, promenade theater and site-specific performances have seen a huge increase in popularity over the past decade. PunchDrunk, an immersive, site-sensitive company founded in 2000, is often cited when talking about immersive theater. They are self-proclaimed pioneers of a “revolutionary form of theater in which wandering audiences experience epic storytelling within sensory theatrical worlds” (PunchDrunk, 2015). In their production of "The Drowned Man", a loose adaptation of Georg Buchner's "Woyzeck", the company completely transformed an old empty four-storey warehouse near Paddington station, filling it with large sets and props. Audience members were at the heart of the walk's production, and were free to wander around the site as they followed... in the middle of a sheet of paper... stupidly changed for another library as a site without this changing the performances . One of the acts, 2 actors performing Pu Songling and Aesop's Fables from two spiral staircases, could have been performed up another flight of stairs without the performance being significantly altered. ARK's intention to invite the public on a sensitive journey to the site and to revive the library spaces However, when it does not respond to the architecture, the history of the site or the community it has created, it is more of a performance staged in a space unconventional theater rather than a site-responsive performance. The movement artist however had created a work in the spirit of the theme, using architecture to influence his moves. His physicality was informed by the forms of the interior, although the narrative of his journey was the result of the stimulus given, the theme of the bestiary.