Originally published in print, September 2021.

 

As we begin our slow but steady return to normal life, the live entertainment industry has had to get creative. Theatres have been streaming live performances of hybrid events, with a limited number of face-to-face tickets available, selling cheaper tickets to those who decide to watch from the comfort of their own home. While these innovative performances are a huge step forward for the live entertainment industry, can virtual shows ever capture the magic of live theatre? 

 

For many of us, there is no greater thrill in life than the moment when the lights go down, a hush descends upon an eager audience, and the curtain begins to rise, transporting us to the world of the story we are about to experience. There is a certain magic in seeing the actors before us, knowing that no two shows will ever be exactly the same. Witnessing such talent and showmanship at close proximity is almost more than we theatre nerds can bear. The atmosphere of anticipation, joy, despair, fear and amusement is contagious, drawing us in and creating a common bond between a hundred odd people. Surely this magic, this unique joy and comfort, would be lost in a livestream? Surely the very idea that anyone outside of the four walls of this hallowed building can experience this performance is simply blasphemous?

 

In our desire to preserve the sanctity of live theatre however, we may be doing it a disservice. By keeping performances for the eyes of those physically present, are we gatekeeping the experience? Is it not pretentious and rather elitist to insist on limiting the number of people who have access to an art form? Live theatre is one of the most inaccessible forms of entertainment that exists in modern life. Tickets for popular shows are expensive, making it a luxury that only the middle classes can enjoy. Tickets sold for live streams of shows are considerably more affordable, opening this ancient art form up to a much wider audience. 

 

Unfortunately for our society, what was once a form of artistic expression for the masses has become associated with wealth, academia and pretentiousness. Hybrid events can and should break down this social barrier by making theatre as accessible as it was to the audiences of Shakespeare and Sophocles. One production that is taking a huge step towards inclusivity, through both its hybrid format and its groundbreaking subject matter, is the Abbey Theatre’s Walls and Windows, written by Rosaleen McDonagh. The first play written by a traveller woman to be performed in Ireland, the play is a milestone for Irish theatre in more ways than one. With 50 tickets sold per performance for in-person seats, this blended performance is not only a social commentary on the representation of the traveller community, but an example of how the concept of a theatre audience can be broadened.

 

Live streaming for theatre shows is especially necessary for large-scale productions like those on Broadway and the West End. The quality of the shows at these renowned theatres is unmatched, but so is the price of the tickets. Even for those living in New York or London, a theatre show is a luxury, unlike ordinary trips to the cinema, purely due to the considerable price difference. Recordings of shows like Hamilton, however, have become extremely popular, streaming on sites like Disney Plus and gaining millions of views on Youtube. Without the internet, most people would never have seen Hamilton, or know every lyric to the soundtrack. Increasing accessibility to musicals has only increased their popularity and revenue over the last few years, so why not continue the trend?

 

While our love for the excitement of live theatre in the flesh will never change, the addition of live streams can only be a positive one. Why limit ourselves as performers and avid theatre kids to a smaller audience? Increasing the popularity of plays, musicals, one person shows and everything in between can only benefit the live entertainment industry, especially given the detrimental impact the pandemic has had on the sector. If theatre as we know it is to survive at all, it must adapt, and we as audiences along with it.