Building a bigger stage

Robert Delamere - Co-Founder / CEO

Launched in October

2009

Working in conjunction

with Britain’s leading

theatre companies

Capturing performance in

high definition from

multiple angles

Distributed as downloads

around the globe

Theatre is a 5000-year-old

art form - it was and

continues to be a

communal experience

People crave and seek

out high quality

experiences, that is

absolutely key

We use film language to

capture theatrical

expression, this moulds

theatre and means we are

a hybrid art form

David Suchet and Zoë Wanamaker star in the

multi award-winning revival of Arthur Miller’s All My

Sons

“Capturing the alchemy of live performance is an

enormous challenge. Digital Theatre set about it with

a care and sensitivity that produces excellent results,

and hopefully can open up the art form to ever

increasing audiences.”

Ian Rickson, director of Parlour Song

We ‘capture’ productions,

iso-recording multiple

performances

Films are sound-mixed,

graded and then encoded

for ease of access

They then become

available to rent or

download online through

our website

English Touring Theatre’s production of

Thomas Hardy’s Far From the Madding Crowd

We work with directors,

creatives and writers to

ensure that our films of

the original stage

production follow their

creative intentions

All participants are

contracted and rewarded

on union approved deals

Catherine Tate and David Tennant reunited on

stage in the sell-out production of Much Ado About

Nothing

Digital Theatre works with

Britain’s leading theatre

companies

Our theatre partners:

Unicorn Theatre

Frantic Assembly

Royal Exchange Theatre

Royal Court

Regent’s Park Open Air Theatre

Gate Theatre, Notting Hill

Bush Theatre

Sonia Friedman Productions

Royal Shakespeare Company

Liverpool Everyman and Playhouse

English Touring Theatre

Young Vic

Almeida Theatre

Stanhope Productions

Frantic Assembly and Abi Morgan’s tale of past

and present lives intertwining and colliding,

Lovesong

When Digital Theatre

launched, our productions

could only be watched

through downloading the

Digital Theatre Player to

the desktop

There is now an audience

expectation that content is

universally available

This causes both

technological and rights

considerations

It has been imperative that

we are a technology and

content business to be

able to react to this

Through our integrated

model we are able to

respond to changing

customer demands

We can also position our

content to be exploited in

different markets such as

Digital Theatre Plus

Harry and Luke Treadaway star in Mark

Ravenhill’s play about reunited twins, Over There

Screen size has always

been a question of taste

and technology

The best screen you have

is the one you have with

you

If you put aside the

consumption device then

the quality of the content

is the audience’s key

decision factor

Clare Bayley’s Amnesty Freedom of Expression

Award-winning play The Container

Previously we’ve used

and seen mobile devices

as informational, just as a

marketing tool

That has fundamentally

changed as devices have

emerged and matured -

you can now consume

content on the go

The iPad is a consumption

device for immersion in

culture

Kathryn Hunter portrays Peter the Ape in the

Young Vic production of Kafka's Monkey

Audiences also want to

plan consuming content

when they think they’ll

have the best experience

That is why, launching this

month, we’ve created an

IPTV app on Samsung

Smart TVs

We get closer to

replicating the communal

theatre experience which

people cluster around

Digital Theatre seeks to

export great British culture

We have global appeal

and a great British product

Audiences are enjoying

our productions from Paris

to El Paso, Texas and

from Melbourne to Ho Chi

Minh City Richard Katz as Touchstone in Michael Boyd’s

RSC production of As You Like It

“We're always looking for ways to bring our work to

the largest possible number of people. And the

potential of digital technology to connect with a

worldwide audience is genuinely exciting.”

Dominic Cooke, Artistic Director of the Royal Court

Capturing theatre as we

do has only been possible

through advances in

camera technology

Distribution direct to

audiences has been

enabled by the internet

Audiences can now watch

British theatre around the

world on their connected

TV or in the palm of their

hand

Jez Butterworth’s Parlour Song starring Toby

Jones, Andrew Lincoln and Amanda Drew

TV, film and music have

all gone through a process

of disruption and

digitisation

We believe there is a

quality of writing, richness

of theatrical talent and

world-class production

expertise in the UK which

deserves the same global

audience

However, it all hinges on

the quality of the work

Told By An Idiot and the RSC reimagine

Shakespeare’s The Comedy of Errors for a

younger audience

“There needs to be revolutionising of the capture of

live theatre, and we are enjoying the pursuit of that

ambition with Digital Theatre.”

Michael Boyd, Artistic Director of the RSC

Theatre has been

recorded on film for

generations in different

ways

There is a wealth of

quality theatre content

available which is not

being offered to audiences

Digital Theatre is in a

position to aggregate this

quality content and offer it

to our audience

The Unicorn Theatre and Tony Graham’s

production of Michael Morpurgo’s Billy The Kid

Theatre is an ephemeral

artform - this is a

fundamental part part of

its appeal

Digital Theatre capture

performance with minimal

interruption or influence

on the performance

We capture a fleeting,

creative moment in time

and give it the opportunity

to be viewed in a global

auditorium

David Morrissey returns to his native Liverpool to

deliver his Macbeth at the city’s Everyman Theatre

YouTube trailers viewed

over 200,000 times

Individual films selling

over 10,000 copies

Audiences in 155

countries across 6

continents

Platforms allow us to

access culture hungry

global market

The Open Air Theatre’s Olivier Award-winning

revival of Stephen Sondheim’s Into the Woods

“Digital Theatre has found the formula to

successfully film theatre of the highest quality,

providing a fulfilling experience for those

theatregoers unable to attend live performances.

The films will be treasured by companies for many

years after their productions close and hopefully

enjoyed by audiences around the world for decades

to come.”

Kim Poster, producer of All My Sons

Visit us at digitaltheatre.com

twitter.com/digitaltheatre

facebook.com/digitaltheatre

robert.delamere@digitaltheatre.com