Research briefing: February 2010

Beyond live
Digital innovation in the performing arts
 Executive summary

The UK has in recent years undergone a digital revolution. New technologies such as digital TV,
music downloads and online games are ripping up established business models. Last year, the
UK became the first major economy where advertisers spent more on internet advertising than
on TV advertising.

This digital revolution has caused upheaval in the creative industries – in some sectors, it has
enabled creative businesses to reach audiences in new ways that were unimaginable in the
1. The NT Live research forms analogue age; but in others it has ‘cannibalised’ their established revenue streams. In all cases,
part of NESTA’s wider study,
led by Hasan Bakhshi and digital technologies have produced seismic changes in consumer expectations and behaviour,
Professor David Throsby, and social media platforms are becoming more important as venues for the discovery and
on innovation in cultural
organisations. A full research discussion of creative content.
report will be published in
Spring 2010.
Unlike film and recorded music, live performance organisations produce ‘experiential goods’
whose features are less easy to translate digitally. Yet, digital technologies are impacting on live
performance bodies such as theatres, live music, opera and dance companies too. The National
Theatre’s NT Live broadcasts of live productions to digital cinemas may contain broader lessons
for innovating organisations in the performing arts sector.

With this in mind, NESTA has been conducting an in-depth research study on the two NT Live
pilots that were broadcast last year – Phèdre on 25th June and All’s Well That Ends Well on
1st October.1 The research shows how this innovation has allowed the National to reach new
audiences for theatre, not least by drawing on established relationships between cinemas and
their patrons all over the country. It confirms the centrality of ‘live’ for the audience experience
– both in the theatre and in cinemas. Cinema audiences report even higher levels of emotional
engagement with the production than audiences at the theatre. They also claim that they
are now more likely to visit the theatre in the future, suggesting that there may be positive
spillovers on the wider sector.

All this suggests an appetite for cultural experiences that are live, going against the prevailing
logic of ‘consumption on demand’, where individuals are free to choose the place and time
where they access content, but do so detached from the unique circumstances where it was
produced in the first place.

NESTA NESTA is the National Endowment for Science, Technology and the Arts.
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London EC4A 1DE Our aim is to transform the UK’s capacity for innovation. We invest in
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Beyond live
Digital innovation in the performing arts

1. Introduction expectations and behaviour4 – strategies of

market segmentation and release windows
Digital technologies are shaking up business which served the analogue age clash with
models in the creative industries the aspirations of consumers who want the
Britain is digital. 68 per cent of all households freedom to access content ‘anywhere, anytime’.
have broadband, one of the highest Social media platforms are becoming more
penetration rates in the world. Almost 90 important as venues for the discovery and
per cent of UK households watch digital TV, discussion of creative content, challenging 2. Porter, M. (2001) Strategy
and the Internet. ‘Harvard
and nearly half of them own games consoles. established models for promotion based on Business Review.’ March
Digital sales now account for 96 per cent of advertising and marketing.5 2001, pp.62–78.
3. Liebowitz, S. (2006)
music single sales. 8.1 million households File Sharing: Creative
access the Internet on their mobile phones. The All of this has made it imperative for the UK’s Destruction or Just Plain
Destruction? ‘The Journal
UK had 310 high-end digital cinema screens in creative industries to look at new business of Law and Economics.’ April
2008 – of which 69 were able to show 3D – the models and reimagine their relationship with 2006, Vol. 49.
highest in Europe. Last year, the UK became consumers. Although some sectors are more 4. Molteni, L. and Ordenini,
A. (2003) Consumption
the first major economy where advertisers advanced than others, we are witnessing Patterns, Digital Technology
spent more on internet advertising than on TV a period of increasing experimentation: and Music Downloading.
‘Long Range Planning.’ Vol.
advertising. businesses are exploring a wide range of novel 36 (4).
platforms and strategies to reach audiences and 5. Deuze, M. (2007)
Convergence culture in
In some creative industries this digital generate revenues. the creative industries.
revolution has caused upheaval. Since many ‘International Journal of
Cultural Studies.’ Vol. 10 (2).
creative products are easy to reproduce, Live performance organisations need to
transmit and store through digital means, innovate too
digitisation has created unprecedented On the face of it, live performance bodies
uncertainties for businesses. As with all such as theatres, live music, opera and dance
disruptive change, there are threats as well as companies seem insulated from digitisation.
opportunities. Unlike film, recorded music and publishing
businesses, performing arts organisations
In particular, although digital innovation produce ‘experiential goods’ whose features
enables creative businesses to reach audiences are less easy to translate digitally – there is a
in new ways, some fear that it will ‘cannibalise’ general perception that ‘one has to be there’ in
their established revenue streams2 – it is, for order to fully enjoy a live performance.
example, unclear whether digitally transmitted
content can command the same prices as Of course, a number of well-known performing
its ‘physical’ counterpart. In some sectors arts organisations like Pilot Theatre, the
businesses are also understandably concerned Philharmonia Orchestra and Random Dance
that their content ends up on filesharing have for some time been pushing the digital
platforms where consumers access it without envelope in distributing their respective art
paying.3 forms. However, these are exceptions to the
rule. Arguably, many publicly funded arts
Digital technologies have, more generally, organisations have been cushioned from the
produced seismic changes in consumer competitive pressures that are driving digital

3
 transformation in more market-driven creative to the audience at the National Theatre itself,
sectors. 14,000 saw that evening’s production on 73
digital screens at 70 unique sites across the
Yet, there may be significant benefits to UK. An additional 14,000 people also saw
arts organisations from digital distribution.6 it live across Europe or on the same day in
Although their products are indeed North America (allowing for time zone delays).
experiential, they can still be transmitted live Including cinema audiences in other countries
by digital means. Technologies like the Internet who saw that broadcast at a later date, it is
and digital cinema break down the barriers to thought that a staggering 50,000 saw Phèdre
access arising from physical location. as it was performed on 25th June.

In principle, they may create new audiences NESTA has worked with the National
for live art at the site of production too, for Theatre and 35 of the participating digital
example if they enable audiences to ‘sample’ cinemas to analyse audience reactions
cultural experiences in contexts where they Two survey exercises were conducted to
are more comfortable – as when someone compare the cinema audience with the
decides to attend the performance of a play at ‘traditional’ theatre audience for the same
the theatre after trying out a digital broadcast play. The surveys were completed online. In
in their local cinema. Digital distribution both cases audience demographic data were
channels may also recruit audiences to sites collected on-site to adjust the survey responses
of production if they serve as a marketing for any selection biases that might have
tool. The adaption of cultural goods to digital arisen if those completing the surveys were
platforms may even push the artform itself, not representative of audiences as a whole
creating altogether new forms of artistic (in practice such biases turned out to be very
experience for audiences. small).
6. Bakhshi, H. and Throsby, D.
(2009) ‘Innovation in Arts
and Cultural Organisations.’ At the same time, digital innovation for 1,316 complete responses for cinemagoers
Interim Research Report. performing arts organisations is not without its were collected and 1,216 responses for
London: NESTA.
7. Bakhshi, H., Desai, R. and risks. Audiences may not respond well to digital theatregoers
Freeman, A. (2009) ‘Not transmission of live performances; or audiences The surveys included questions addressing
Rocket Science: a Roadmap
for Arts & Cultural R&D.’ may respond so well that, in principle, it could how respondents first found out about the
London: Mission, Models, cannibalise established revenues at the box production, their reasons for attending, their
Money.
office. prior expectations about the performance and
how they felt afterwards, their willingness
Cultural organisations at a digital crossroads to pay for theatre and live screening tickets,
The implication of the previous discussion is and the impact of their experiences on
that performing arts organisations, like other their likelihood of attending theatre and
creative businesses, face opportunities and live screenings in the future. Key socio-
challenges from digital technology. There is demographic information, including age,
an urgent need to invest in trials and conduct gender, employment status, educational
experiments.7 In the rest of this briefing we background and gross annual income was also
present emerging findings from NESTA’s collected.
research, led by Hasan Bakhshi and Professor
David Throsby, into one such trial conducted The robustness of the survey findings to the
by a leading performing arts organisation, the type of production was investigated by a
National Theatre. survey of audiences at the second NT Live
broadcast, that of the National’s production
of All’s Well That Ends Well on 1st October
2009. Overall, the findings were remarkably
2. NT Live consistent across the two productions.

NT Live marks the first time live theatre has

been broadcast to cinemas in the UK (and
worldwide) 3. Audience research
On 25th June 2009, the National Theatre on
London’s South Bank broadcast live by satellite NT Live appears to have drawn in new lower
to digital cinemas Nicholas Hytner’s production income audiences
of Racine’s Phèdre, translated by Ted Hughes Although the theatre and cinema audiences
and with Helen Mirren in the title role. This was for Phèdre were similar in terms of their
the first of four experimental pilots. In addition educational qualifications, NT Live attracted

4
significantly more low income individuals than The cinema screening of Phèdre increased
did the theatre. Table 1 shows that 24.5 per the geographical reach and ‘virtual capacity’
cent of cinemagoers earned less than £20,000 of the National Theatre
per year, compared with only 15.8 per cent of When asked to rate the different factors
those who attended Phèdre at the National affecting their decision to attend the live
Theatre. The share of cinemagoers with screening of Phèdre, over 90 per cent of
incomes above £50,000 per year, at 12.9 per attendees identified proximity to the cinema
cent, was half as much as at the theatre. venue as important (Table 3). 31.5 per cent of
NT Live audiences said that the South Bank
Theatre and NT Live audiences found out location being too far away was a major reason
about Phèdre through different channels for why they decided not to see Phèdre at the
While those who attended the theatrical National Theatre. At 12.6 per cent, a significant
performance knew about it primarily from share of audiences who attended the cinema
National Theatre sources such as its website screening reported that they did so because
and e-mails, the majority of NT Live audiences tickets for the theatrical performance had sold
found out about the production via the cinema out. These findings serve to illustrate the way
where it was screened, through its website, in which NT Live enabled the National Theatre
brochure, posters and trailers. Word of mouth to bring the play to people who otherwise
played a much more important role in raising would not have been able to attend, because
awareness of the screening – with 23.7 per of constraints arising either from distance or
cent of audiences identifying this channel at the unavailability of tickets.
cinemas compared with only 7.9 per cent of
theatre audiences (Table 2). The view that NT Live expanded substantially
the ‘virtual capacity’ of the National Theatre
This finding suggests that the digital broadcast is consistent with the responses of audiences
of Phèdre made it possible for the National for Phèdre at the National Theatre – 80.8 per
Theatre to draw on established relationships cent of which reported that they would have
between cinemas and their patrons all over the attended a cinema screening of the production
country in order to reach people who might if they had not been able to find a ticket for
otherwise not have heard of the production. the theatrical performance (Table 3).
Indeed, over three-quarters of NT Live
audiences had in the previous 12 months been Intriguingly, despite lower expectations,
to the cinema where Phèdre was screened cinema audiences reported higher levels of
(Table 1), lending additional support to the emotional engagement with the production
idea that by broadcasting Phèdre in cinemas than those who had experienced the play at
the National Theatre was able to harness them the National Theatre
as local cultural hubs for the promotion of the As noted earlier, the main expectation of NT
production. Live audiences was to experience a new way
of presenting theatre. By contrast, theatre
NT Live audiences were attracted to a new audiences identified having an emotional or
way of experiencing theatre uplifting experience and ‘escaping from the
While at 60.3 per cent the overwhelming everyday’ as key expectations (Table 4).
majority of theatregoers reported that wanting
to see Helen Mirren live was their main reason It is striking how in the event, when describing
for attending the play at the National Theatre, their feelings about the performance,
NT Live audiences most often identified cinemagoers felt significantly more emotionally
wanting to see what a theatrical performance engaged than they had expected (a finding
broadcast live at a cinema would be like: 34.8 echoed by NT Live All’s Well That Ends
per cent of audiences identified this as their Well audiences) – and even more so than
main reason for going (Table 3). Interestingly, theatregoers (Table 5). 88.2 per cent of NT Live
21.1 per cent of cinemagoers said that their audiences claimed to have felt an emotional
main reason for attending was to see a National response to the play and 63.2 per cent went
Theatre production, greater than the 18.6 per as far as saying they had felt they had been
cent saying that it was because they wanted ‘transported to another world and lost track of
to see Helen Mirren. This is testament to the time’ (compared with 72.7 per cent and 47.8
strong ‘brand’ value the National Theatre per cent respectively of theatre audiences).
carries throughout the UK.

5
 The live and collective aspects of the NT Live audiences claimed that their
theatrical experience remain essential for experience had made it more likely that
audiences they would visit the theatre, as well as live
The survey findings show clearly that screenings of plays, in the future
the experiential aspects of attending the It is unsurprising, given their high levels of
performance were valued by theatre and audience satisfaction with NT Live Phèdre, that
cinema audiences alike. In both cases the audiences were almost unanimous in their claim
chance to see the actors ‘up close’, as well as that their experience had made it more likely
the ambiance and comfort of the venue were they would attend live screenings of theatre
reported as important factors when deciding productions in the future (Table 7). This finding
whether or not to attend (Table 3). is consistent with the experience of the live
screening of All’s Well That Ends Well, where
Both groups also anticipated enjoying the 42.5 per cent of audiences had previously
‘buzz’ of a live experience, an expectation attended the live screening of Phèdre.
that was clearly more than validated. So, for
example, Table 5 shows that 84.3 per cent of Interestingly, significant numbers of NT Live
cinema audiences felt real excitement because audiences claimed that the live screening of
they knew that the performance they were Phèdre had also made it more likely they would
watching was taking place ‘live’ at the National visit the National Theatre, as well as other
Theatre. theatres, in the future (Table 7). Attending
the live screening appears to have had a
This finding suggests that there are limits particularly significant impact on the intention
to the ‘anywhere, anytime’ attitude towards of lower income groups (that is, those earning
the consumption of content. It would seem less than £20,000 a year) to visit the National
that there does exist a ‘right time’ (live, as Theatre.
8. 2009 saw the launch of it happens) and a ‘right place’ (a cultural
a commercial venture
called Digital Theatre in venue, whether a theatre or a cinema) to enjoy The survey findings therefore suggest that,
partnership with the Almeida some cultural experiences. Responses to an over and above the increase in audience reach
Theatre, the English Touring
Theatre, the Royal Court, additional question included in the survey of enabled by digital broadcasts, NT Live may
the Royal Shakespeare NT Live All’s Well That Ends Well audiences have produced additional benefits for the
Company and the Young
Vic which allows audiences provides additional support for this claim: 47.9 National Theatre, by stimulating attendees’
to download theatre per cent of audiences reported that they would interest in coming to the South Bank itself.
productions that can be
viewed on screen. have watched the production if it had been The findings also suggest that NT Live may
9. Throsby, D. (2001) streamed live online, and of these 43.3 per have produced beneficial ‘spillovers’ for other
‘Economics and Culture.’
Cambridge: Cambridge cent said they would have been willing to pay theatres, such as those situated in localities
University Press. for that experience.8 where it was screened.

Notwithstanding the belief that digital

screenings can preserve the live experience,
audiences are willing to pay more for live 4. Conclusions
theatrical performances
Table 6 confirms that NT Live audiences have Digital innovation is enabling the National
a much higher willingness to pay for theatre Theatre to reach new audiences
tickets compared with live screening tickets. Cross-platform strategies that expand overall
While most people would not pay more than audiences are being explored by businesses
£15 to watch the cinema screening of a across the creative industries. NT Live is an
theatrical performance, they would be willing example from one of the UK’s premier cultural
to go up to £40 for a theatre ticket. organisations. The survey findings suggest it
is producing direct and immediate benefits in
This could partly reflect the advantages of greater and new audiences for the National
enjoying what is perceived to be an ‘authentic’ Theatre’s work as well as less tangible ones,
experience or the exclusivity which comes with in the form of an increased awareness of the
attending a performance at the theatre as activities of the National Theatre, and an
compared with the cinema.9 In this sense, the appetite for the experiences it provides.
constraints on audience size which motivate
innovations like NT Live may also contribute The survey findings do not paint a picture
to the theatre’s particular sense of worth in of live cinema screenings competing with
audiences’ eyes. theatrical performances, but rather of one
where they function in parallel, targeting in
some cases different audiences – in terms

6
of their location or income – and in other and ephemeral, going against the prevailing
cases producing greater choice for existing logic of ‘consumption on demand’, where
audiences.10 NT Live has contributed to the individuals are free to choose the place and
‘virtual capacity’ of the National Theatre, with time where they access content, but do so
the added benefit of bringing in lower income detached from the unique circumstances where
groups who, we know from other research, it was produced in the first place.
have traditionally been under-represented
amongst theatre audiences.11 Better knowledge about what works with
audiences, and what does not, in digital
But digital innovation can also be a source innovation is crucial for the competitive
of new and valuable theatrical experiences success of the UK’s creative industries
Exposure to a novel experience is one of Public agencies and funders charged with
the main factors drawing people to NT Live supporting the creative industries should
screenings. Our survey findings indicate that ensure that robust information about the
audiences who are familiar with theatre are outcomes of new digital experiments, as well
keen to see the artform they love presented as about evolving consumer attitudes and
in a new medium. They further show that behaviours, is widely available for creative
audiences come out from the experience with businesses and arts organisations to draw on
their expectations more than fulfilled, and as they design their innovation strategies.
hungry for more. Better knowledge about what works and 10. NESTA’s wider research
project from which these
what does not in digital environments can survey findings are drawn
Audiences state clearly that the live aspects reduce the uncertainty which might keep also involves a detailed
study of postcode addresses
of the performance, whether experienced at some organisations from innovating, and of audiences for Phèdre
the theatre itself, or at a live screening, are make it possible to avoid costly mistakes and at the National Theatre.
Specifically, we are exploring
essential for their enjoyment. This suggests an ‘reinventions of the wheel’ at a time when whether there were greater
appetite for cultural experiences that are social these can be least afforded. or fewer numbers of
visitors than is ‘normal’
from catchment areas of
digital cinemas where the
production was screened. If
NT Live served on balance
to attract audiences to
the National Theatre we
would expect to see more
individuals from these
catchment areas than
Table 1: Characteristics of the audiences and prior knowledge of theatre would otherwise have been
the case. If instead the
live screening persuaded
significant numbers to

Variable Percentage of forgo a visit to the National
Theatre on the grounds
responses they could enjoy the live
experience at their local
Theatre Cinema
cinema we would expect to
see fewer individuals from
these areas. The results of
Gross Annual Income Less than £20,000 15.8% 24.5% this analysis will be included
in the final research report
£20,000-£49,000 32.7% 36.6% for the project, to be
published in Spring 2010.
More than £50,000 25.5% 12.9% 11. Wing Chan, T., Goldthorpe,
J., Keaney, E. and Oskala,
Knowledge of theatre General 72.1% 68.9% A. (2008) ‘Attendance and
participation in theatre,
Expert 26.8% 27.2% street arts and circus in
England: Findings from the
Little or no knowledge 1.1% 3.9% Taking Part survey.’ London:
Arts Council England.
Professional or academic Yes 20.7% 23.7%
involvement in theatre

Cultural consumption Been to the National Theatre last year 94.1% 41.3%

Been to the National Theatre between 1 and 5 years ago 3.5% 25.8%

Been to the National Theatre longer than 5 years or never 2.4% 32.9%
been

Been to a play this year 96.4% 91.3%

Been to the cinema where the performance was screened N/A 77.3%

Been to the Metropolitan Opera Live Performance at the 11.8% 31.8%

cinema

7
 Table 2: Finding out about Phèdre

Source Percentage of responses
Theatre Cinema

National Theatre website 36.6% 15.3%

By e-mail 27.0% 12.2%

Press coverage 25.1% 14.2%

Through the cinema N/A 55.1%

Word of mouth 7.9% 23.7%

Table 3: The decision to attend the performance

Variable Percentage of
responses
Theatre Cinema

The main reason to attend To see Helen Mirren 60.3% 18.6%

Interest in the play 30.4% 19.6%

It was a National Theatre production 6.0% 21.1%

To see a theatrical performance broadcast in the cinema N/A 34.8%

Other factors that were Convenience of the venue (transport and parking) 71.2% 90.6%
important or very

important in the Ticket cost 68.2% 72.5%
decision to attend
The ambiance of the venue (theatre or cinema) 72.4% 59.2%

Comfort at the venue 73.2% 67.8%

Seeing the actors up close 70.2% 75.3%

Reason for attending the Geographical distance to the National Theatre N/A 31.5%
cinema screening

instead of the theatrical Didn’t consider buying a ticket for the theatre N/A 13.8%
performance
(only for Preferred seeing the cinema performance N/A 12.8%
cinema audience)
The theatre performance was sold out N/A 12.6%

Wanted to see the performance in the cinema before N/A 2.4%

buying a theatre ticket

Reasons for attending the Would have attended the cinema performance if the 80.8% N/A
cinema
screening (only theatre had sold out
for the theatre audience)
Would have gone to the cinema as well as seeing it in the 16.9% N/A
theatre

8
Table 4: Main expectation of the performance

Variable Percentage of
responses
Theatre Cinema

Main expectation To have an emotional or uplifting performance 37.8% 12.1%

about the performance
To experience the excitement and ‘buzz’ of a live performance 34.0% 16.5%

To have a completely immersive experience and escape 18.1% 4.4%

from the everyday

To experience a new way of presenting theatre N/A 59.8%

Table 5: Experience of the performance

Strongly Agree Neither agree Disagree Strongly Don’t know/
agree nor disagree disagree No opinion
Theatre

Theatre

Theatre

Theatre

Theatre

Theatre
Cinema

Cinema

Cinema

Cinema

Cinema

Cinema
I was totally absorbed 38% 60.6% 39.2% 31.5% 10.5% 5.1% 9.8% 2.1% 2.4% 0.6% 0.1% 0.1%
The experience met my expectations

34.8% 42.5% 41.6% 47%
6.4%
6.1%
12.8% 3.1% 3.9%
0.7% 0.6%
0.6%
I felt an emotional response to the play 27.7% 46.1% 45% 42.1% 14.6% 7.3% 9.7% 3.4% 2.8% 1.0% 0.2% 0.2%

After leaving the theatre I wanted to talk 26.3% 41.5% 57.0% 48.4% 10.1% 7.7% 5.3% 1.7% 1.0% 0.2% 0.3% 0.5%
to people about what I’d seen

Broadcasting live theatre to a cinema screen 18.8% 63.8% 55.2% 32.8% 14.7% 2.4% 5.6% 0.6% 2.0% 0.1% 3.8% 0.3%
opens up new ways of seeing this artform

I was transported to another world and 12.1% 23.3% 35.7% 39.9% 27.7% 25.4% 18.2% 9.1% 5.7% 1.8% 0.7% 0.5%
lost track of time

I could relate to, or feel a bond with the 11.3% 19.0% 40.4% 51.1% 29.2% 22.4% 13.3% 6.0% 4.8% 0.9% 0.9% 0.6%
performers

Seeing the play in the company of an 11.2% 14.2% 45.2% 45.6% 28.4% 25.2% 10.3% 10.5% 3.8% 3.3% 1.1% 1.1%
audience increased my enjoyment

I feel my creativity has been stimulated 10.4% 17.4% 30.3% 37.9% 38.0% 35.1% 15.7% 7.2% 3.7% 0.6% 1.8% 1.8%
by the experience

The play made me think of new ways of 5.4% 12.4% 27.3% 39.2% 43.5% 37.7% 19.1% 8.3% 4.0% 1.2% 0.8% 1.2%
seeing things

Watching the play in the cinema would 2.8% 14.5% 13.1% 42.7% 17.4% 22.6% 34.9% 15.8% 21.9% 3.5% 9.9% 1.0%
give me a good sense of what live theatre
would be like

The play did not engage me on an 2.8% 3.3% 9.1% 6.0% 7.2% 4.2% 41.6% 35.2% 38.4% 50.0% 1.1% 1.3%
intellectual level

I didn’t understand what the artists were 1.1% 1.0% 3.3% 2.5% 5.8% 2.8% 38.2% 33.0% 51.1% 59.7% 0.6% 1.0%
trying to convey

I felt real excitement because I knew that N/A 43.6% N/A 40.7% N/A 11.8% N/A 2.9% N/A 0.7% N/A 0.3%
the performance was live

9
 Table 6: Willingness to pay

Variable Percentage of responses
Theatre Cinema

Reasonable amount to pay for the cinema £5 or less N/A 0.1%

screening of Phèdre
£6-8 N/A 11.6%

£9-11 N/A 67.7%

£12-15 N/A 18.2%

£16-20 N/A 2.1%

£21 or more N/A 0.4%

Maximum amount the respondent would pay for the £10 or less N/A 24.3%
cinema screening of Phèdre
£11-15 N/A 55.2%

£16-20 N/A 15.9%

£21-25 N/A 3.1%

£26-30 N/A 1.0%

£31 or more N/A 0.5%

Reasonable amount to pay for the theatrical £10 or less 2.8% 6.3%
performance of Phèdre
£11-20 16.5% 32.5%

£21-30 41.9% 43.5%

£31-40 30.5% 16.6%

£41-50 7.5% 0.7%

£51 or more 0.7% 0.5%

Maximum amount the respondent would pay for the £10 or less 1.3% 1.7%
theatrical performance of Phèdre
£11-20 4.4% 13.9%

£21-30 20.5% 33.6%

£31-40 30.2% 29.7%

£41-50 33.3% 14.7%

£51-60 6.3% 4.0%

£61 or more 4.1% 2.4%

10
Table 7: Changes in attitudes to attending theatrical performances and live screenings in
the future

Percentage of
responses
Theatre Cinema

Having seen the cinema Made the respondent more likely to attend other live N/A 89.1%
performance: broadcasts of theatre performances in the future

Made the respondent more likely to attend a performance N/A 33.9%

at the National Theatre in the future

Made the respondent more likely to attend a play at N/A 29.6%

another theatre in the future

Having seen the Made the respondent more likely to attend another 40.6% N/A
theatrical performance: performance at the National Theatre in the future

Made the respondent more likely to attend another 25.2% N/A

performance at another theatre in the future

Made the respondent more likely to attend the live 21.5% N/A
broadcast of another production (not Phèdre) at a
cinema in the future

Acknowledgements

This research briefing was written by Hasan Bakhshi, Director, Creative Industries, NESTA,
Juan Mateos-Garcia, Research Fellow, NESTA and David Throsby, Professor of Economics,
Macquarie University. The surveys were administered by Morris, Hargreaves, McIntyre. Nick
Vanderkooi provided research assistance. David Sabel and Sarah Chambers from the National
Theatre made significant contributions throughout the project.

11
NESTA
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London EC4A 1DE
[email protected]
www.nesta.org.uk

Published: February 2010