a) Blast from the Past: Four years at the Fest: Metro Plus Theatre Festival 29 /07/ 2010 Theatre

actor and director Freddy Koikaran of Stagefright Productions on his long association with the fest, experimenting with different styles over four years and saying I told you so to Mukund. Its hard to believe that five years have passed since the inaugural edition of the Metro Plus Theatre Festival. And in that period, Stage fright Productions has had the privilege of being associated with the festival four times between 2005 and 2009, and each time has been a learning experience and an event to remember. I can still remember Mukund calling me to meet him at his office in early 2005: he had an idea he wanted to bounce off of me. I was thrilled at the idea of a theatre festival and told him that it would definitely be a success. With the name and branding that the Hindu commands, I saw it as an opportunity to coerce Chennai audiences into attending shows on days other than Fridays, Saturdays, and Sundays. But Mukund was unsure about trying too many things at once, and I suppose the businessman in him decided that it was wiser to be prudent and see how the whole idea was received. Fortunately, I can now say to him with as much irreverence as I can, I TOLD you so! because the festival has today gained importance of immense proportions in the Chennai calendar. Unlike some others from the Chennai theatre fraternity, I had never made the assumption that the festival was intended to promote Chennai theatre, and so while I was initially surprised that Chennai groups were not given as much prominence as some outstation teams (such as being relegated to smaller venues, etc.) I wasnt terribly disappointed.A set of short plays, a drama, a full-length musical the MetroPlus Theatre Festival has given Stagefright Productions many opportunities to try different styles and to experiment, but of course always keeping the audiences interests in mind. The concept of Citizens Reviews is a good idea, as it allows us to hear from the audience directly, but I believe that the only flaw with it is that some people clearly have no idea how to write objectively, and in my opinion, those reviews should not be printed. After all, everyone may have an opinion about whether a play was good or not, but how many people can give justifiable explanations for their choice? (Please note, I am not referring to bad reviews; I am referring to badly written reviews.) The constant and common challenge that everyone in the theatre fraternity faces is that of prohibitive production costs. And despite the high production costs, we cannot inflate our ticket prices accordingly, or else we run the risk of alienating the already miniscule theatre audience in Chennai. Interestingly enough, many outstation teams who perform in Chennai are often seen as lacking in quality as well as professionalism, and yet people rush to see them perform, as there is always an assumption that groups from outside

Chennai are better. Fortunately most of those outstation teams who have participated in the MPTF have always been of superlative quality, and it is my sincere hope that the MPTF continues to increase the size and quality of the Chennai audience so that those of us who stage shows here can reach out to a wider and more discerning audience. b) There is something Magical about theatre: Kher http://articles.timesofindia.indiatimes.com/2011-01-10/pune/28365569_1_anupam-kher-niluphule-theatre-lovers/2 "It is a flexible age for theatre and there are no hard-and-fast rules about one style winning over the other. People prefer subjects and styles that hold their attention because at the end of a good play, one only reflects on what one could relate to." He says he has done more than 200 shows, which testifies to the fact that his work has been able to keep his audience enraptured, just the way he wanted it to. Kher says he loves doing theatre more than films. "Every day is a different show and there are no re-takes... that is the joy of it. A play keeps me breathing and alive. There is a rush of blood to my head ever time I go on stage for a performance. I get to act before a new audience that has an uncanny presence of mind, which is another thing that draws me to drama. A live audience, hanging on to every word and mood of a character, is what keeps me alive as an actor. c) Theatre festivals-A great way to Revive Indian Theatre http://www.hindustantimes.com/Reviving-Indian-theatre/Article1-236432.aspx IM Sahai, Hindustan Times Mumbai, July 13, 2007 At the Summer Drama Festival organised by the National School of Drama (NSD) in Delhi the other day, Vijay Tendulkar's Ghasiram Kotwal was revived.Both the shows went house full, with standees inside and many more outside clamouring to get in. Evidently, GenNext is in the proces In Delhi, NSD's two seasonal festivals draw good crowds each year. In Mumbai, the English Theatre at least is still healthy. Kolkata prefers folk theatre, specially Jatra which now has an extended season. If the doctor-director Jabbar Patel were asked to diagnose the illness, he'd probably term it as a multi-organ failure'. Another theatre-person Mohan Maharishi asked recently, "Where are the new playwrights?" As for training, a solitary NSD in this vast country is a cruel joke on the large potential of theatrical talent in its various parts. We need a NSD in each State.

Optimism shines As we progress further in the new millennium, I am optimistic. During the last century, theatre had successfully countered a series of obstacles: colonial rule and its ham-handed censorship, the resurgence of cinema, the coming of TV and cable-channels, and lately the shenanigans of the moral' police. Yet theatre could emerge stronger for all that. Despite its past baggage, theatre will flourish. As in the past, a good nursery for talent have been the better schools and colleges. Hopefully, their chiefs will look beyond the cut-off marks' and merit-lists and build on the dramatic tradition that already exists - or needs to be nurtured. Theatre groups need to take a long hard look at the way they go about their difficult task. Just as in cinema, a few big, well-mounted plays could set the tone for the decades to come. I keep wondering why, with our rich musical tradition, particularly in folk, we do not have at least a good musical' or two mounting the boards. More so, when sponsorship now is not as difficult to get as was in the past. Keeping out bureaucrats: Hopefully, the theatre of tomorrow will not depend unduly on the government, whether in the centre or states. An average CM of the day has no time for culture (except when it gives him photo-ops), and his babus toe that line. At the central level, the department of culture is a mere addendum to a small ministry and routinely palmed off on a junior (or politically inconvenient) minister. It is far more fruitful to rely on one's own efforts, supplemented by corporate support. That would require imagination and leg work. But that's something that the drama- wallahs are used to doing, isn't it? In 2020, theatre can only get better & more adventurous. d) Theatre fest to celebrate vibrant India H M Aravind, TNN, Apr 6, 2011, 10.55pm IST http://articles.timesofindia.indiatimes.com/2011-04-06/mysore/29388178_1_theatre-buffstheatre-fest-theatre-movement MYSORE: India's only state-sponsored theatre repertory is celebrating India's vibrant multicultural ethos at the five-day festival Bahuroopi which opened on Wednesday. As noted theatre personality Amol Palekar entered Kalamandir Cultural Complex, he set the mood for festivity and celebration. An elated actor present at the event said, "Vibrancy is only possible in theatre. This is what it is. Those who derive pleasure from this will know the hollowness of films and larger-than-life events."

e) Industry Status must for Indian theatre: Amal Allana http://www.thaindian.com/newsportal/india-news/industry-status-must-for-indian-theatreamal-allana-interview_100114320.html

03 November 2008 11:32:15 by IANS Bangalore, Nov 3 (IANS) Indian theatre has its roots in the Vedic times, but today it is fighting for survival and needs industry status to make it commercially viable, says acclaimed stage director Amal Allana.Theatre as an art form in India has its roots during the Vedic period. But in spite of such a long period of existence, theatre persons are still fighting to make theatre commercially viable, Allana, chairperson of the Delhi-based National School of Drama(NSD), told IANS in an interview here. Theatre cannot survive in isolation. The status of an industry will help theatre persons work in a coordinated manner for the growth and development of theatre, Allana, 61, said on the sidelines of a 10-day theatre festival at Ranga Shankara, a theatre facility in Bangalore. The festival celebrating the Nataka Mandali or company theatre tradition began Friday with Nati Binodini, a play directed by Allana on the struggle of the mid-19th century actress Binodini in Kolkata. The 100-minute play in Hindi was staged by Theatre and Television Associates. The story brings into focus how Indian women in every stage of their lives have to fight a tough battle to fulfil their ambition. The play set in the mid-19th century is still relevant. The position of Indian women has not changed much since that time, stated Allana, who is the daughter of theatre legend Ebrahim Alkazi and has till date directed 50 acclaimed plays. On the television and film industry being a major threat to theatre, Allana said all hurdles would be sorted out once theatre got the industry tag. Theatre has to be made commercially viable for its survival. Although thousands of theatre troupes are working hard and staging plays in India, they are suffering from financial penury, she rued. Be it Manipur, West Bengal or Karnataka, India has some of the most talented theatre troupes producing world class plays. But there is no financial backing for them. The government has to pitch in to bail out theatre from its financial bankruptcy, she added. Lauding the support extended by several corporate houses, Allana said since its inception theatre had survived because of royal patronage. Corporate houses coming out and helping theatre troupes in recent times is a welcome sign. Hope more such support comes our way, she said.

For instance, the Ranga Shankara theatre festival is being supported by cellular phone company Vodafone. Contemporary theatre is working under terrible conditions. We need to find a solution soon, Allana said. On her stewardship of the NSD, she said We at the NSD have various plans to bring some elementary changes in the way theatre across the country operates. Hope we achieve all our goals, said Allana, who won the Sangeet Natak Akademi award for direction in 1998.

f) Mark my word, Theatre will outlive technology: Sanjana Kapoor 16 November 2008 08:43:47 by IANS I'm surprised that most of the audience patronising the Prithvi Theatre Festival in three venues in the city comprise young people who are used to interacting with each other through SMSes, MMSes, e-mail and e-mail chats. So watching a live-action play is a revelation to them and therefore they are enjoying the experience. Mark my word, theatre will outlive technology," Sanjana told IANS g) English theatre gaining popularity The second capital of Maharashtra seems to have developed a theatrical taste for English plays with people from various walks of life seen enjoying a drama or a stage recital, opting over a television soap opera. From school and college students to educated homemakers and service professionals, the audience for English dramas is growing in Nagpur. The current scene is different from the situation 4-5 years ago, when it was difficult to draw people to watch a play in a language other than Hindi or Marathi and the change augurs well for the theatre industry. According to Vikas Khurana, who is popularly known as the 'theatre guru' of Nagpur, and has founded Stagecraft, about six plays are produced on an average in a year by his group, with 3-4 shows of a play at a time, running to packed houses. The group works with convents, public schools and professional colleges, conducting theatre workshops and stage plays for them on a regular basis. Khurana says theatre has to start at the grassroots level and hence he opts for schools and colleges. "There is no dearth of talent there," he said. h) The Economic Cost of Live Theatre http://metrotheatrefest.com/2010/08/12/opinion-the-economic-cost-of-live-theatre/ 12 /08/ 2010

Anandaroopa, an independent scholar and curator specializing in Vietnamese and Southeast Asian contemporary art, a practicing yogi of the Satyananda Yoga tradition and a theatre enthusiast from his New York days, on how addictive the experience of live theatre can be and on the need to invest in its preservation, whatever the economic cost. Having lived in Chennai since 2008, this is my second year of participating in the MetroPlus Theatre Festival (MPTF). Being an ex-New Yorker who was spoilt by the myriad of choices of Broadway and off Broadway plays and musicals just a few blocks from our first apartment near Times Square, I have been starving for live theatre during my time in Chennai. Attending MPTFs opening show, Break Out, satisfied some of that hunger and gave me food for thought about the economic cost of not having live theatre. At the opening party of the Festival, N. Ram, Editor-in-Chief of The Hindu, half-jokingly challenged Mukund Padmanabhan, MPTFs main organizer, to increase corporate sponsorship next year in order to offer free tickets. Though a lofty goal from a social equality point of view, economists will tell you that people do not value a free ticket. The cost and its opportunity cost is zero, and thus, its valuation is low. Besides clever marketing, good reviews either by word-of-mouth or publicity to generate that buzz, another time-tested successful method to create demand is set by the example of ski resorts that train the young to ski by offering low-cost tickets. Similar to skiing, live theatre or the opera is an acquired taste; you have to learn the skill, whether it is to maneuver the skis or to listen to an aria, to appreciate it. The act of going to the theatre might have a tinge of class snobbery (for some), because of the cost of the experience. If you are not exposed to the medium from your family or education, either because of economic or lack of availability, the opportunity to experience at a young age and exposure will build the taste, which, in the long run, can be addictive. I am hungry for the theatre because I want to experience those moments of divine ecstasy during a live performance. I am addicted to that wow moment over and over again like any crazed junkie needing his high. With many such moments, the Break Out story epitomizes the need for live theatre as an experience to challenge our humdrum existence. While on stage, the characters yearn for freedom as they escape from prison, the audience, sitting in the theatre, goes on the same adventure as we escape from our daily routine, at least for 75 minutes. In one memorable scene, set in a church, one escaped prisoner takes a long pause to gaze, with his back to the audience, at the churchs colorful stained glass windows. The tableau gave us, the audience, and time to reflect ourselves on the same beauty our actor experienced a pure moment of brilliant theatrical staging. The actor and we were one. And there were many moments of connection between the actors and their audience, whether funny, poignant or melancholic, that one can only experience in the context of live theatre not watching it on TV nor at the movies.

And because the cost of staging live productions can be prohibitive unless there are corporate sponsors, like the MPTF sponsors, its a blessing that we get to see any live theatre at all. With the right economic incentive and marketing, I predict the MPTF will continue to create demand so that, one day, we will see long lines all around the Sir Mutha Venkatasubba Rao auditorium for standing-room only tickets. The economic cost of producing live performances is high. But think about the economic cost, in terms of the nourishment of the human spirit, if future generations were deprived of the experience of watching live theatre.

i) Does the kalaakar need a revenue model? (Mid-day) By: Aditi Sharma Date: 2010-12-11 Place: Mumbai http://www.mid-day.com/specials/2010/dec/121210-indian-theatre-bankruptcy-theatregroups.htm Quasar Thakore Padamsee now has time , after spending anxious weeks scrounging for funds to hold the 12th edition of Thespo, the annual youth theatre festival that's often found itself struggling to make ends meet, the group's blog thanks strangers, musicians and theatre practitioners from foreign lands for reaching out. Ministry of Culture is working on a draft policy for supporting Cultural Mega Festivals organised by non-government organisations across the country, under which a festival could receive upto Rs 15 lakh in cash and Rs 30 lakh in kind But it's corporate sponsor apathy that's disappointing, says the actor-director. "It's difficult to raise money for theatre because sponsors want instant gains. They don't want to invest time in a particular project but want immediate returns. It's not always about making your logo look better or splashing banners all over the auditorium," he says Thespo's open appeal for funds, and the launch of a Facebook initiative spurred a media debate on whether Indian theatre was nearing bankruptcy. Ironically, some of his seniors and contemporaries couldn't comprehend what the noise was about. "I don't think there's been as much money in theatre as there is today. The audience is ready to shell out money for expensive tickets. We have been averaging 150 shows a year, across the country, for the last three years. Explain to me how I can do this if we weren't getting the money?" asks theatre veteran Rahul DaCunha, founding member of Rage Productions. Over the last four weeks, Thespo managed to raise Rs 3.5 lakh through the Friends of Thespo initiative and a generous grant by actor-director Anupam Kher. "We have been able to connect with the community directly to sustain the festival. Over 90 individuals have contributed. Corporate India needs to understand the benefit of the arts as an expression of what is right with society, and what's not. They must take on the cultural supporter tag," argues Thakore-Padamsee.

Although the festival will unfold on schedule, the prize money and number of shows have been sliced. Veterans in the industry, although empathetic, say it's the right time to introspect about how a theatre group, and the industry as a whole, are run. "It is a festival that connects Indian youth from across the country. I am shocked no corporate sees value in it. Perhaps they haven't been able to communicate well with corporates," says a theatrewalla, on condition of anonymity. What's needed is to engage the corporate world professionally. While individual effort has helped a number of groups and organisations tap into funds, the theatre community needs to come together and represent itself as a unit. "We should build bridges with allied groups, talk to top decision makers in the government, consulates, funding agencies and organisers of international festivals, to create a pressure group that can lobby for theatre," says playwright Ramu Ramanathan. He, in fact, suggests the launch of a ''Best Practices'' guidebook for theatre companies, and the practice of nominating a committee that can negotiate with corporates for sponsorship. "This will make sure the wheel doesn't have to be re-invented every time a new project is started. We need to integrate theatre in education too," he says. j) Arundhati Nag speaks on the revival of theatre at theatre fest Manu Aiyappa, TNN, Nov 20, 2001, 01.46am IST mysore: the centre of attraction on the second day of the national women's theatre festival (akka) was none other than the well-known theatre artiste arundhati nag canvassing for ranga shankara , an ambitious theatre project dedicated to the memory of versatile actor-director shankar nag. At a chat at the venue, she focused on the `future of theatre in india'. "it (theatre) will never die as long as such events (akka) are organised, " she replied confidently. reacting on the poor response of youth to the national festival, she said: "theatre has reached an extent that, organising mega events sometimes fails to elicit larger turnouts. we cannot assume the rebirth of theatre will take place on the basis of crowds". "real revival will take place only when the small street shows manage to draw considerable crowd without any publicity". she goes on to say" as tastes change and one has to take into account what becomes fashionable for the youth." citing an example of her own, having worked in theatre for more than 20 years, one wonders just how many people know or recognize me, but in case of a TV personalities who began acting just the other day in a couple of serials turns out to be a `hero' the very next day, she rued. if interest in art treasures is dwindling in literate societies what is its future where low awareness/literacy levels do not even qualify it as a priority, nag said. "art conservation and appreciation is by no means a `live' issue and we all know about government interest in these matters." "How many students are brought in by schools for a visit to this famous festival? festival or mega show, call it what you may but things cannot move without funding, sponsors, donations and a healthy and keen interest both among the audience and the management. this is the reason why we have conceived ranga shankara theatre project," she said. "Karnataka has a good amateur movement and we want to help to

keep it going, so the idea is to make it affordable for all amateur theatre groups," she added. the project estimated at a cost of Rs 2.5 Crore will stage as many as 300 plays a year. special thrust to children's theatre, tie-up with schools, script, sound, music, costume and set banks, national and international theatre festivals, school, college, state and national level competitions are among the many programmes envisaged by ranga shankara. k) Waiting for the big ticket ( Talking about Future) http://articles.timesofindia.indiatimes.com/2011-01-30/news-interviews/28354690_1_theatregroup-ticket-prices-prithvi-theatre Says actress Rohini Hattangady, who recently portrayed Kasturba Gandhi in the play Jagadamba during the National School of Drama's festival in Delhi, "In India, if you act in a play, it means you're probably not getting work in films. Also, nobody wants to spend money on a ticket. For a serious play like Jagadamba, it's difficult to fill up the auditorium with an audience." "Corporate firms need to look at meaningful urban theatre very seriously. Abroad, urban theatre is entirely supported by corporate sponsorships. Here I don't even want to ask for government funding, because folk and rural theatre need all the attention and financial support to remain vibrant and alive." Feroz Khan who was instrumental in introducing the concept of International Theatre Festivals in India. Theatreperson, writer and co-director of Peepli Live, Mahmood Farooqui performs Dastangoi, the ancient Islamic tradition of oral storytelling. He says, "Serious theatre needs either support from the state or the business-philanthropists to survive. How many of our billionaires support any arts?" A culture for theatre is still to evolve in India. Says Rajit Kapoor, "We don't respect live performances. In the West, a person may come twice to see the same play." Theatre groups also need a home where the plays can run for a considerable time. Says Feroz Khan, who directed Dinner With Friends, "Other than Prithvi Theatre, the rest are multipurpose auditoriums. A play is not about a star, but about a great live performance." Says theatreperson Sohaila Kapur, "We have oodles of talent, but not the discipline that good theatre demands." Actor and theatreperson Lillette Dubey believes theatre is not just an art form abroad, but also a commercial enterprise. She says, "We need to develop a love for theatre!"

l) Prithvi Theatre is an oasis in a crazy city: Sanjna Kapoor http://movies.ndtv.com/movie_story.aspx?Section=Movies&ID=ENTEN20100146415&subc atg=MOVIESINDIA&keyword=bollywood 13 July 2010 08:11:14 by IANS "We have managed to create this little oasis out of this gem, an oasis in the midst of this crazy city that allows you to breathe, where you can engage in live performance in an intimate surrounding that is magical," Sanjna told IANS in an interview. "The sad thing is that any theatre of our kind, anywhere in the world, would ordinarily receive government grants. We, however, do not fall under any government scheme - be it state or central. An appalling state of affairs," said the 43-year-old whose Prithvi Theatre holds about 550 shows every year, of which around 100 are children's shows. "Since we subside our theatre rent to enable theatre groups to sustain their activity, our annual losses have to be covered by sources other than our rent. We have survived all these 32 years chiefly through building long-term relationships through corporate sponsorship and more recently with foundation grants," Sanjna told IANS. "We are developing more income-generating schemes within our ambit to enable us to be a little more self-sufficient. "The government should be offering relief and incentives to corporates that support the arts, but, alas, it does quite the opposite! If tomorrow all corporate sponsorship were to stop, we would face a serious crisis," she added Indian theatre is only 250 years old! So, we are Fledgling; we need government support, and that requires a change in mindset." We haven't been able to articulate what we do. No one knows how we work, and that we need money all the time!" Yet Sanjana's hopeful, "In a strange way, the younger generation in Mumbai has a special feeling towards theatre. And if they could earn a reasonable living from it, their choice would be to do theatre full-time. That'll happen only if there are 10 more Prithvis in town! If we don't create a stabilised scenario in the next three years, we'll lose talented people from theatre," she continues, "Films are still okay because they demand a certain rigour. But television is the worst criminal because it breeds bad habits. Actors, writers and directors become sloppy!"

m) Global Theatre Festival floors one and all TNN, Jan 31, 2011, 11.05pm IST http://articles.timesofindia.indiatimes.com/2011-01-31/bhubaneswar/28358311_1_theatregroups-theatre-movement-artists CUTTACK: A recent theatre festival in the city won the hearts of audiences, covering, as it did, a range of socially relevant subjects such as child labour, sufferings of tribals due to industrialization, the struggle of an educated unemployed youth to get a job amid the prevailing corruption and many such serious issues. The 12-day-long extravaganza titled the 11th Global Theatre Festival organized by Theatre Movement at Kala Bikash Kendra, looked at all these issues from a refreshing point of view and showcased some brilliant performances by talented artists. "The artists presented the serious problems and issues of society in a lighthearted manner. Although we were unable to understand the languages Manipuri and Assamese of some of the plays, the impactful performances of the artists left a lasting impression on our minds. It was really an interesting experience," said Somesh Rout, one of the spectators.

n) Pursuit of pleasure becomes serious Business: Kingdom of Dreams The Rs 220-crore kingdom of dreams in Gurgaon showcases India's cultural diversity. So what's a hard-nosed, ambitious corporate warrior to do in these nasty recessionary times? Simple: Work harder, party even harder. India's economic boom has been awfully addictive and given most urban Indians a leisure fix that's hard to give up. Hot list restaurants, pubhopping, chilling out in fancy malls and physical therapy in fancier spas, travel to exotic destinations and a free subscription to shopaholics anonymous. The extravagance may be less visible, the footfalls softer but there's really no slowing down: new malls, restaurants, cafes, spas, golf courses, luxury homes, it's almost like a pop-up culture. Two weeks ago, we saw its latest manifestation: Gurgaon's Kingdom of Dreams, a Rs 220-crore fantasyland of epic proportions spread over six acres with two hi-tech 4-D theatres built like a Maharaja's palace, an air-conditioned boulevard spread across 90,000 sq ft, showcasing India's cultural and culinary diversity, Khajuraho-inspired installations, bars, restaurants and a bigger-thanBollywood theme. Kitsch choreographed as culture but it symbolises a scale of ambition representing the new India

o) There is Huge Theatre Audience in India: Shashi Kapoor http://www.junglee.org.in/shashik.html It is wrong to say that a theatre audience does not exist in India. it does. Only, it is still to be tapped professionally. The Bengali, Marathi and Tamil Theatres thrive because of provisional support. The IPTA, Naya Theatre and Dishantar are making noteworthy contributions towards the Hindi stage, but the potentiality of the both as an art form and a source of entertainment has not yet been thoroughly explored. Perhaps we lack in organisation or we need more dedicated workers with a lot of guts to boot. Again, it is incorrect to argue that Film and TV will sweep the Theatre off its feet in the ensuing years. Look at Europe, USA and other advanced countries where both TV and Cinema have developed to a saturation point. Theatre exists there gracefully vis-a-vis all forms of entertainment as a form of art.

p) Corporates taking interest in Sponsoring Theatre Art Forms (Tata Indicom Prithvi Theatre Festival ''08) http://www.tata.com/company/releases/inside.aspx?artid=d5NCdfcCgSU Tata Indicom, in alignment with the Tata groups philosophy, is trying to provide an impetus to various art forms. Tata Indicom is now delighted to announce its partnership with Prithvi Theatre to present to the Mumbai public some of the finest plays of contemporary India. Speaking on the occasion, Mukund Govind Rajan, managing director, Tata Teleservices (Maharashtra) said, Tata Indicom takes pride in its ability to power effective and highquality communication, while Prithvi Theatre has always been admired for its tradition of innovative communication to reach out to audiences with a wide range of social messages through the medium of theatre. We are, therefore, delighted to partner with Prithvi Theatre and look forward to our partnership in helping to enhance the theatre-going audience's experience.