Well someone is finally doing it. As you can see from the press release below the future is here. Over the last year I have discussed often in this blog the idea of simulcast or live-streaming of production as well as the definition of live theater.
All I can say is mark this day because it is the day American Theater evolved. We don’t know how yet, but trust me the game just changed forever.
Media Contact: Stephanie Riso
412.561.6000 x201
sriso@picttheatre.org
FOR IMMEDIATE RELEASEAll Eyes on Pittsburgh – Regional theatre goes LIPLO™
Pittsburgh Irish & Classical Theatre first to secure rights to stream August 15th, 2009, 8:00pm performance of The History Boys “live and in person and live and online”
PITTSBURGH (August 4, 2009) — Mid-way through its 2009 season, Pittsburgh Irish and Classical Theatre (PICT) has been given the green light by authors and unions to test run its “live and in person and live and online” streaming web portal, allowing people across the world to witness the live production. On Saturday, August 15th, 2009 at 8:00 p.m., anyone with a computer and high-speed internet connection can attend PICT’s live performance of the award-winning play The History Boys by Alan Bennett, being held at the Charity Randall Theatre in Pittsburgh, Pa., via LIPLO™ at www.LIPLO.com. Viewers will have the opportunity to watch the entire show live as it happens and comment on the performance. A customer service technician will be available to help troubleshoot technical problems.
LIPLO™ – the acronym for “Live and In Person and Live and Online” – was developed by PICT cofounder and operations director Stephanie Riso in conjunction with Alex Geis of 21 Productions. Between 2007 and 2008, they had great success using LIPLO™ to live stream cabaret entertainment. Riso proposed expansion of the trademarked web portal to include live theatre through her affiliation with PICT, and the idea was embraced by the staff, board, unions and authors.
Geis and Riso are both graduates of Carnegie Mellon University (CMU); Riso holds a degree in
Music, and Geis holds a degree in Mechanical Engineering with a minor in Film and Digital Imaging. Geis returns to CMU this fall to begin studies for a Master in Music Technology – a new major offered by the School of Music, School of Computer Science, and Electrical and Computer Engineering Department. “I think this idea is genius” exclaimed Canadian actor Bernard Cuffling, who also plays the Headmaster in the production. “It is not easy to travel from Canada to see many of the theatres I’d like to see, so this option is terrific.”
Joe Warik, member of the AEA liaison committee, says “this is a great way to audition for agents and show off your work live as it is happening – nothing can beat the online option when you can’t get to the theatre.”
Christopher Lacey, Assistant Executive Director of Pittsburgh’s local chapter AFTRA (American
Federation of Television and Radio Artists), a union which represents actors and stage managers, was enthusiastic from the start, citing the potential for this emerging medium to open up new and unique work opportunities for union members.
The History Boys LIPLO™ performance streams live on Saturday, August 15th, 2009 at 8:00 p.m. at
www.LIPLO.com. PICT will continue the program by streaming live performances of Crime and Punishment in September and Jane Eyre in December (dates to be announced). Those wishing to participate, must have a valid email address to access the LIPLO™ portal and the minimum computer requirements, which will be outlined on the website, to properly experience the performance as it was intended. Viewers are also encouraged to comment live during the trial period and will have the opportunity to purchase LIPLO™ signature events for PICT’s 2010 season. For more information about PICT visit www.picttheatre.org. LIPLO™ (Live and In Person and Live and Online) is a 21st century live theatrical entertainment portal which offers unedited theatre performances live as it happens.
Pittsburgh Irish and Classical Theatre was founded in 1996 to expand and diversify Pittsburgh’s cultural landscape by providing high quality, text-driven theatre. Now in its thirteenth year, PICT strives to become a leader in 21st century theatrical production and distribution through innovative thinking, business-minded activities, educational activities and ongoing diversity-building initiatives that highlight PICT’s motto “Great Stories: Well Told” – using a new world view.
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I have my doubts about this, but I suppose I’ll reserve judgment until I see it.
You are right, though. This could be huge.
I have some reservations too, but I don’t think it diminishes the impact of someone actually doing it. Even if it is done poorly the threshold will have been crossed at a regional theater which can’t be undone.
I wonder about this — hasn’t the attraction of the theatre, as opposed to film and tv, been the live aspect, the experience of being in the room (or amphitheatre) with the performers and with your fellow audience members? Will the small screen do justice to a full stage picture? Will enailing and twittering substitute for live applause? Will there be any sense of urgency to a story mediated by the electronic presentation? I have trouble imagining it doing so. Still, getting all the unions on-board is a signal step, and I’m sure there will be many iterations of this attempt before we fully understand it. In the end, the Live & Online component will have to be its own ‘production,’ with real attention paid to the capture, support, and response.
I completely agree about the beauty of theater being in the room with living and breathing actors. I just wonder and I have posed this many times before because I don’t know the answer – for the upcoming generation does live have a different or evolving meaning. Last summer I pondered this with a group of twenty-year-old interns http://tinyurl.com/lskfg9 and found a lot of varying opinions – from theater interns! I do think you will lose the urgency and the magic of the experience, but will you gain anything? A few years ago I would have said it was heresy to simulcast in movie theaters and many feel that it has been a great thing for opera (I am still on the fence on that). I didn’t get to see the National’s Phedra but is certainly got mixed reviews.
So many questions.
My knee jerk reaction is maybe for musicals certainly not for plays! But then here we have The History Boys which on Broadway integrated film seemlessly and perfectly into the production. If I had to guess the first major internet broadcast it wouldn’t have be my guess.
Interesting to think of it as it’s own production – not sure whether I feel that is an extension of the artform or a new artform a la performance art. I think about what Whit MacLaughlin is doing with FATEBOOK and that is along the lines of being it’s own production.
With the unions on board we have a major movement to explore what it all means. It will be interesting to see how Saturday night’s performance goes and what it leads to, but I stand by the idea that this is a moment of change in the theater no matter how it goes. The debate in very interesting.
This wasn’t going to be the first time this has occurred. I recently live streamed Palm Beach Opera’s season preview concert and we plan on live streaming at least 3 additional performances this season. We had very positive feedback from our first outing and were very happy with the result.
Ceci -
Opera has been way ahead on this front compared to theater. I am reasonably sure it is the first time a professional theater company in the U.S. has done it. I would love to hear more about your simulcast though – please share.