Cinema Screenings of Theatre Shows: Enhancing Accessibility or Diminishing the Experience?

SIX the musical has undeniably transformed the landscape of British musical theatre. With its catchy songs and sharp dialogue, it delivers an electrifying 80-minute pop-concert experience that captivates audiences worldwide. From the West End to Broadway, and even on cruise ships, SIX has become a global sensation that isn’t hard to come by. But now, for those unable to attend a live performance, cinema screenings offer an alternative. But does this format capture the magic of the stage, or is it merely a diluted cash grab?

There’s an undeniable energy being in the room where it happens. Live theatre is a visceral, communal, hard-to-replicate experience. I remember leaving The West End Arts Theatre after seeing SIX in its original run and feeling an absolute rush. In the cinema? Still incredible, but less magical.

That’s not to say cinema screenings of theatre aren’t valuable. I get the appeal. Couldn’t get tickets to Macbeth with David Tennant? You can still see it without remortgaging your flat. Want to relive Waitress with Sara Bareilles because there’s no tour in sight? Let’s be fair, there are far more cinemas and it's way more affordable at your local Cineworld. These screenings are keeping the door open to iconic performances that would otherwise be lost to time or, more realistically, London ticket prices.

But what do cinema screenings do to our relationship with theatre?

According to the Society of London Theatre, National Theatre Live and other screening initiatives have significantly increased access to theatre. One study found that 32% of cinema-theatre audiences had never been to a live performance before. Surely that’s positive? These screenings aren’t just pulling in the usual thesps. They’re enticing new audiences who might otherwise think theatre isn’t “for them.” And that’s worth celebrating.

There’s also growing evidence that cinema screenings don’t cannibalise theatre audiences. In fact, they might do the opposite. Data from the Audience Agency shows that people who attend theatre screenings at the cinema are more likely to go on to buy tickets to see a live show later. Like a gateway drug. You go in thinking you’re just watching a filmed play and come out wondering what else you’ve been missing on stage… And from my experience, you’re missing a whole heap of connection with the world of the stage, so buckle up because you’re about to be entertained! 

Financially, the NT has reportedly generated over £80 million globally through National Theatre Live. That’s revenue being pumped back into productions, new writing, and jobs… In a world where governments and local authorities freely slash the arts and culture budgets, this is huge. 

Then we have to consider the perks of outreach. Rural towns with no theatre buildings, school groups who can’t afford a London trip, and international fans with no access to UK tours. It’s theatre without borders.

Of course, it’s not a perfect system. Not every show works on screen (SIX, I’d argue, loses a lot of its edge when filtered through the lens). Not every performance translates. The sound mix can flatten the voice. The camera tells you where to look, something that, in a live setting, is entirely up to you. And there’s a risk, of course, that we grow too comfortable consuming theatre passively, with surround sound and soda, which may account for the rapid decline in theatre etiquette over the past few years.

So here’s my take: cinema screenings shouldn’t be treated as replacements—they should be access points. For the superfans, they’re a love letter. For the curious, a first date. And for the industry, a lifeline. But while cinema screenings are brilliant bridges, nothing quite matches the real thing.