Is digital theatre here to stay?

From the OLD VIC: IN CAMERA performances to The Globe’s Globe Player, a huge number of venues diversified their offering during the pandemic to bring arts and culture into the homes of their audiences. For many this was a new undertaking, and one that we at After Digital—arts and culture being very close to our hearts—followed with great interest. In many instances, venues’ rapid segue into streaming performances has seen great success and innovation, with Michael Breslin and Patrick Foley’s Circle Jerk going so far as to be nominated for a Pulitzer Prize.

The digital production Circle Jerk was a finalist for the Pulitzer Prize in the category of Drama.

With audiences keen to support their favourite venues and looking to access these cultural events from home, this was a lifeline for many organisations. Commentators have praised this development as a step towards making arts and culture accessible to a wider audience. However, during the past year and a half we have also heard more cautious voices, highlighting issues such as, copyright disputes, the high cost associated with producing digital-first content, and the investment in infrastructure required to be able to serve audiences this content—all of which are barriers faced by those (especially smaller venues) looking to stream their performances. In addition, it remains unclear whether digital culture is even something audiences will continue to take advantage of going forward. Already, we’ve seen sharp drop-offs in uptake between summer 2021 and winter 2020. During the pandemic, Geffen Playhouse in Los Angeles sold a staggering 35,000 tickets, grossing over $3 million—an incredible result which artistic director Matt Shakman says has since dropped off dramatically. Google Trends shows us that after the initial boom of online theatre around the time of the first lockdowns, increases were again recorded in winter time—a trend we’ll likely see again in winter 2021, with more restrictions looming and colder weather making the indoors attractive once again. 

Peaks for the term ‘theater online’ are recorded around March 2020 and January 2021.

It is surprising perhaps, how much discussion and apprehension there is around streaming—theatre in particular—given the longstanding partnership between digital, arts and culture:

• In 1943, Engelbert Humperdinck’s Hänsel und Gretel became the first opera to be shown on television in its entirety

• Musicals have a long history of being filmed on live stage, from Into the Woods (1991), to Newsies (2017), to Hamilton (2020)

• Bolshoi Ballet in Cinema will open its doors to audiences in cinemas worldwide for the 11th consecutive season in 2021

• National Theatre Live had its first season in 2009, and has continued to live-stream performances to cinemas and arts centres ever since

Humperdinck’s Hänsel und Gretel was the first opera to be shown on television in its entirety. [Source]

In light of this, the jump from television and cinema to streaming platforms doesn’t seem as dramatic. So perhaps it’s not about the  new format, but more that audiences have not yet adjusted to it. Since many venues are still finding their feet when it comes to the user experience of their platforms, there’s a lack of consistency in both the quality and the price of performances. 

A key insight from surveys is that audiences generally assume digital cultural content to be enjoyable but inferior to live events. That being said, the fact that some are pessimistic about the quality of digital cultural content, means that they might expect to pay less than they would for a live experience. Some commentators have argued that the amount of content being made available online for free or for a donation during the pandemic has contributed to audiences being less willing to pay, which points to a perception of digital cultural content being a temporary, lesser stand-in for the real thing. 

Considering the differences between the two experiences, it’s easy to understand why this perception persists—going to the theatre (or any live, in-person event) often includes dressing up, a date, food and/or drinks. Compare that to streaming a performance at home, from a small laptop or TV screen, with your mobile phone in reach, quick trips to the fridge and a spotty internet connection—it’s different, but is it worse? If anything, it tells us that digital theatre must acknowledge the difference between the two experiences, and take advantage of the unique opportunities technology offers. Different formats are suitable for different media, and the most successful streamed productions tend to be those created with digital audiences in mind. 

It’s worth noting that the focus on digital has been welcomed by disabled audiences—78% of respondents to a survey carried out by Attitude is Everything agree that venues and events should maintain online streaming as an option (although we should note that digital events aren’t a replacement for in-person events. Both should be made to be as accessible as possible).

It is safe to assume that audiences will likely start searching for digital theatre again come winter. And while the initial ‘boom’ has subsided, an increase in hybrid seasons and commitments to streamed culture across genres seem to be a sign that digital culture is here to stay (see announcements by The Old Vic, Young Vic and National Theatre). It’s hard to say what this will look like a few years down the line, but if there’s one thing we can count on the arts to do, it’s respond to large-scale societal changes with grace, wit, and innovation. Not all formats will be successful, and not all theatres will want to (or be able to) provide streamed performances. And that’s fine. As we have seen, there is still a place and a need for in-person theatre. Digital theatre won’t replace this, if anything, it will continue to evolve alongside it.

Do you need help with your digital services? We can help you, just get in touch or you can check out our previous work.