The Telegraph dubbed Iqbal Khan’s production of Shakespeare’s Othello "electrifying". It certainly was.

On September 26th, I joined a large number of audience members in witnessing the magic of yet another RSC production from Stratford-Upon-Avon, staring Hugh Quarshie as Othello, and Lucian Msamati as Iago. Yet I was sat in my local cinema, some 180 miles north of the theatre where it was being performed, watching the captivating production on the big screen.

Whilst the experience of sitting in the theatre in Stratford is incomparable when it comes to being able to view the productions, I found that my local cinema more than sufficed – and was a lot cheaper, too. The RSC began their live screenings of theatre back in 2013 with a showing of Shakespeare’s Richard II, which was consequently viewed by some 60,000 people across the UK, and the idea has gone from strength to strength, culminating in many more successful live screenings throughout 2014 and 2015.

Khan’s production of Othello was a feat of brilliance, containing moments of sheer beauty amidst the nervous energy with which Shakespeare’s timeless plot is inevitably charged. Quarshie’s presence as the domineering yet caring Othello was outstanding. His ability to depict the raw emotion of the character was artful and delicate, and was most successful in the eerie moment when Othello extinguished the candles surrounding the sleeping Desdemona’s bedside, seconds before killing her in his misguided rage fuelled by the scheming Iago.

It was during such moments throughout the play that I was thankful for being sat in the cinema watching the big screen, rather than being amongst the audience in Stratford. Whilst they would have a front row view of the actors, coupled with the fact that they were in Shakespeare’s birthplace, I had access to an unrivalled viewing of the character’s developments, and could take advantage of the camera’s ability to film close up to the sweating faces of the actors, whilst also panning out to provide me with a wider shot of the stage’s entirety. At the point of Othello’s misconstrued belief of Desdemona’s infidelity, I and the other cinema-goers around me were able to view Quarshie’s emotion-ridden features without hindrance as the camera zoned in on such a crucial moment. Yet I couldn’t help but wonder: how would the play have been different for me, had I been sat in the theatre, only viewing the events unfolding before me from one angle?

I most certainly would not have benefitted from Msamati’s skilful inclusion of humour into the character of Iago. At times, the facial cues were enough to illicit laughter from the audience, as was his direct address of audience members in Stratford when providing some respite from the dark matter of the play’s plot. To think about it, I err on the side of favouring my experience of viewing the play in the cinema. Not only was the coverage of the play better, but I would have not have been physically able to see the production otherwise, given that a trip to Stratford would incur substantial travel, accommodation, food, and ticket costs. A ticket to see the screening at the cinema was £18, plus whatever travel costs I might have; if I were to be sat in the theatre at Stratford, a single ticket would set me back between £25 and £50, depending on where I chose to sit and how much I was willing to let my view of the production be compromised. Therefore, it is easier to admit that I would choose a cinema screening of the production in preference to travelling to see the live performance on stage.

Such cinema screenings make the theatre more accessible, opening up the production to a wider audience of all ages, and making the exclusive experience of having tickets to see the show more inclusive. Whilst someone sat in their local cinema may not have the privilege of being inches away from the actors as they portray some of the most iconic of Shakespeare’s characters, there are obvious benefits to the live screenings.

For one, the sound and image is consistent. There is no chance of missing out on Othello’s seminal words to Desdemona as she dies in his arms, a victim of his bitter naivety. Every whisper and whimper of the actors was caught by the camera’s microphones, some of which will have been missed by those sat in the theatre. A range of camera angles and shots also ensured that I never missed out on watching the actors recite their famous lines.

As a result, there is something more relaxing about being sat in the cinema, without the pressures and formality associated with going out for an evening at the theatre: and, dare I say it, something more enjoyable. Throughout Othello I felt relaxed and focused, and let the passion of the tale sweep me away, leaving me on the verge of tears by the end and, for the remainder of the week, telling anyone who would hear it how fantastic the evening was.

While going to the theatre to witness the grandeur of Shakespeare’s works is a sought-after experience, the development of the RSC live screenings is a stroke of genius. Never again will distance and cost be a hindrance to those wanting to see a play; finally, Shakespeare’s works are being made achievable and reachable for the masses, rather than the pastime of the well connected and educated.

Upcoming live screenings from the RSC include: Henry V on October 21st, and encore Richard II screenings throughout September.