Watching theatre is a joy of mine that Cambridge has satiated, having spent several memorable evenings during Michaelmas term at the ADC and Corpus Playroom with friends. I loved these outings, yet I also find it exciting to live in an age where my access to theatre has greatly expanded beyond the auditorium, thanks to the digitalisation of countless productions. I hold many fond memories of watching online theatre, from performing a two-woman Hamilton with my best friend alongside Disney Plus’ recording of the 2016 original production (sorry, Mum), to being captivated by Gilian Anderson’s performance of Blanche in A Streetcar Named Desire during my A-Level English class.

World-class theatre is more accessible now than ever before. It is disappointing, then, that the same cannot be said for Cambridge’s student productions, which are typically limited to live shows. The Cambridge theatre scene is fast-paced: auditions, rehearsals and performances are tightly packed into just eight weeks. The result is that productions feel ephemeral, performed over a single week and rarely seen again once the curtain falls. Not only are the production team and actors under pressure, but so is the audience. Attending live theatre is a privilege, requiring time and an undistracted mind to absorb and appreciate what you are watching – something the life of a Cambridge student often makes easier said than done. I, for one, have had to miss shows to fulfil my academic commitments. Equally frustrating is attending a performance while feeling guilty about the hours of essay-writing sacrificed to be there.

“Instead, it would allow us all to watch Cambridge theatre on our own terms”

Perhaps digitalised productions are the answer. While not a new phenomenon, online theatre grew in popularity during the pandemic as a means of keeping the art form alive. If adopted for student productions, gone would be the days of guilt and disappointment. Instead, it would allow us all to watch Cambridge theatre on our own terms: re-visiting, re-winding and pausing to our heart’s content and still meeting our deadlines. Arguably, it is a shame that student productions haven’t been digitalised sooner, given the outstanding alumni to have graced the Cambridge stage. An archive of past productions would serve as a way for actors to look back on their work, a helpful visual aid for theatre reviewers, and most importantly it would offer something to be proud of, showcasing the young creative talent that the university has been, and continues to be, inundated with. Although exclusive to student-written and public domain texts, since many licensed shows do not permit recording and distribution of productions, even a selective digital archive would be a step towards preserving Cambridge theatre beyond a fleeting live run.

Some may argue that digitalising theatre productions would cause financial problems for Cambridge theatre. Indeed, the ADC Theatre gains much of its funds for theatrical equipment and productions through fundraising, and may be unable to afford the resources for the multi-camera approach usually taken to record productions at a high quality standard. The National Theatre estimates that it spends a minimum of £250,000 per show broadcasted to cinemas. I am not saying that this is the target Cambridge theatre should aspire to, instead I envision a platform running on a subscription-only basis, much like National Theatre at Home or Drama Online. A fixed-price, subsidised termly membership would perhaps make Cambridge theatre more financially inclusive, rather than students losing track of their spending on multiple theatre tickets across the term. A non-member subscription would carry the potential to showcase Cambridge theatre on an international scale, with subscribers all over the world accessing productions, something which is not yet possible and could increase total income.

“I do not want to take the audience out of the auditorium, but I do want to invite more people in”

Cambridge theatre’s paramount aim is encouraging active engagement and involvement, which digitalising productions would permit in a myriad of ways. Recordings could be captioned or accompanied by sign language, which would increase accessibility for audiences who may struggle to attend unaided live performances. There would also be an increased demand for videographers, meaning more chances for involvement in student theatre. Capturing a show’s essence for a non-live audience would offer exciting new opportunities and an extension of Cambridge theatre’s creative limits.

With all this in mind, my intention is not to shun live student theatre, in fact it is the opposite. I would say to any Cambridge student that attending the ADC or Corpus Playroom is wonderful, as these spaces offer an exquisite atmosphere for live theatre. I do not want to take the audience out of the auditorium, but I do want to invite more people in. Digitalised productions would enhance Cambridge theatre’s inclusivity and creativity; most importantly they would allow us to celebrate and uphold its legacy.