What we’ve learned from 100 NT Live productions

Since then, NT Live has grown exponentially, screened in more than 2,500 venues across 70 countries, and reaches upwards of 11 million people worldwide. I have lost count of the people who have approached me to simply express gratitude that they can see at least some of London’s theatre, whether in Budapest or Bridport.

At a recent meeting of cinema programmers from around the UK, I was bowled over by their championing of the form, speaking passionately of their 60-seat cinemas putting in encore screenings to meet the need in their small towns. My sceptic of 2009 would have been shamed out of the room.

As I have watched the initiative evolve over the years, I’ve witnessed its transformative power, not just for the National Theatre itself, but for theatre as a whole ecosystem. 

There have been many ‘firsts’, from the first Shakespeare to the first NT Live not produced by the National Theatre – Complicité’s A Disappearing Number, broadcast in 2010. During my tenure, we have witnessed the first shows filmed from theatres including the Almeida, the Old Vic and the Bridge, the first two-part release with Angels in America, the first one-woman shows Fleabag and Prima Facie, which both went on to take box-office records for event cinema.

Each of these milestones is testament to the collaborative spirit of theatremaking. And on a more pragmatic front, more than 50% of the profits have always gone in royalties, direct to the artists, providing a welcome income stream to many of the freelancers we work with, which is why agents and artists alike have allowed and encouraged the programme to flourish.

There is evidence that NT Live can increase live theatre audience numbers, while providing welcome box office to arts centres nationwide that provide both

And of course, the success of filmed theatre is entirely dependent on live theatre experiences. This year alone, we have seen unparalleled success with the NT Live releases of Dear England, Vanya (filmed from the West End) and The Motive and the Cue – all three Olivier award winners that tell brilliant, engaging stories. 

To state the obvious, NT Live is not the same as live theatre. Some feel that what they have made with focus and rigour is for a different context, and they have a point. It’s crucial that this necessarily hybrid form doesn’t stay still and that we strive to keep evolving to respond to that, with the artists as involved as possible with every decision and evolution.

Perhaps the most valid concern – around which there still remains a lingering scepticism – is about the impact of digital theatre on live performance. Some understandably fear that digital theatre cannibalises theatre audiences, drawing them away from the physical experience of attending a play. 

With so many NT productions available in digital formats, we can share first-hand that these fears are, thankfully, unfounded. In fact, our data and independent surveys show there are no negative effects of announcing a cinema release on in-person ticket sales. In fact, there is some evidence that NT Live can increase live theatre audience numbers, while providing welcome box office to arts centres nationwide that provide both. Additionally, there is increasing proof that an NT Live can benefit the sales of the show being broadcast, adding exposure for the production. 
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There is also little crossover between London audiences and the audiences of NT Live who go to their local cinema or arts centre. By offering a diverse range of theatre, we cultivate a deeper appreciation for the form, bringing the magic of theatre to audiences who simply do not have the chance to experience it otherwise.

The evolution of the form is not just within NT Live itself. NT at Home, born during Covid with an extraordinary reach into homes around the UK and beyond, has increased access further. And the NT Collection – which now makes multiple titles available free to 88% of state secondary schools in the UK – has become an invaluable educational asset.

In summary, making theatre accessible is not just about reaching audiences physically; it’s about removing barriers of geography, economics and age. It is appropriate that Nye is the 100th, celebrating as it does the belief that healthcare should be for all. Throughout history, in innumerable cultures, the importance of storytelling has been secondary only to health, food, shelter and love. It is a vital part of our human need. With that in mind, more than 1,000 NHS workers will watch the broadcast for free, both at the National Theatre and in cinemas across the country. 

National Theatre Live stands as a beacon of innovation and accessibility in the theatrical landscape. As we celebrate our 100th production, I look forward to a future where theatre knows no boundaries. Whether experienced in person or on screen, the magic of theatre remains a testament to the enduring power of storytelling.

Nye is broadcast in cinemas tonight (April 23). For more information, visit the official NT Live website.