Theatre has always been a pinnacle of artistic expression, linking three outstanding principles: acting, singing, and dancing. The unforgettable energy and ambiance have drawn people to theatres for centuries. Even COVID-19 couldn’t strike down the industry, with theatre attendance returning to (and even outdoing) pre-pandemic numbers in 2022. Yet, despite the industry’s success, the average theatre attendee is aged 65 or older. Which begs the question: In our digital world, is the theatre industry struggling to connect with Gen Z audiences?
While most members of Gen Z don’t regularly attend live performances, the low attendance isn’t solely caused by a lack of interest in theatre. The world’s growing dependence on technology has caused hurdles in getting younger generations to connect with the theatre industry.
Why aren’t GEN Z AUDIENCES heading out to the theatre?
1. Streaming Platforms
With the rise of streaming platforms, people are less drawn to live performances. The convenience and accessibility of streaming platforms just make live theatre seem like a hassle. Why would you watch Hamilton on Broadway when you can watch it from the comfort of your couch? Moreover, with most major productions based in London, there is also a logistical challenge to attending theatre. While older generations value live performances enough to make the trip, Gen Z seems to have different priorities.
2. Ticket Prices
While the cost of living crisis has affected everyone, it has put a disproportionate strain on the younger generation. Gen Z simply doesn’t have the same resources people in their 60s do. Not to mention, the price of tickets continues to rise, particularly due to theatres starting to move towards dynamic pricing. Since older generations have more disposable income, it makes sense that they’re willing to pay high ticket prices.
3. Attention Spans
Gen Z consumes media in higher volumes than any previous generation. Thanks to the popularity of short-form media, attention spans are shorter than ever. Surveys have shown that many young theatre-goers prefer plays that last under two hours. This rules out many popular productions because most West End shows run for 2.5-3 hours. Not to mention, live performances often have multiple things happening simultaneously, which can be overwhelming for audiences used to mindless media consumption.
HOW CAN THE theatre industry draw in gen z audiences?
If the industry is vying to get a younger audience into theatres, they need to create a more accessible environment for Gen Z attendees while still preserving the essence of live theatre. A survey done by Ticketmaster shows that priorities have changed in terms of media consumption. People are more influenced by social media when choosing whether to attend a theatre production. Almost 80% of respondents said they consult social media when choosing which theatre shows to watch. Hence, companies are leveraging social media to try and pull in younger audiences. The Royal Shakespeare Company has begun live-streaming their performances to make them more accessible. A case study on their digital presence shows that this has helped widen their audience and increase revenue.
Does this mean theatres would benefit from relaxing the rules on phone usage? I recently attended a play where personal photography was allowed. It resulted in a very casual environment and changed the ambiance of the show. However, there was a positive effect – videos of the performance were shared online and this helped drum up interest in the play.
Big productions with marketing budgets would see little to no benefits if they relaxed phone rules. In fact, it would be detrimental as many theatre attendees already experience bad audience behaviour, particularly in the form of mobile phone usage and photography. Relaxing phone rules would just exacerbate these issues, driving people away from theatre. However, for smaller productions, it makes sense to cut Gen Z some slack for phone usage during shows. With limited marketing budgets, these productions could benefit greatly from social media exposure. Although the ambiance of the theatre would be disrupted, some companies may be willing to take the risk for the exposure.
All in all, integrating technology and digital marketing methods would help the theatre industry draw in younger audiences. However, there has to be a delicate balance between innovation and preservation. The essence of live performances cannot be lost to the digital world; the priority should be making the arts accessible without commercialising the experience of live theatre.