A Pulitzer Prize-winning play centered around a feminist activist recently debuted in New York, prompting audiences to engage in an unusual practice.
Theatregoers were instructed to secure their mobile phones in specially designed pouches, which could only be accessed during the intermission or after the performance.
Producer Eva Price confirmed to the Guardian that the play, titled “Liberation” and nominated for five Tony Awards, will implement the same phone pouch policy when it makes its way to London.
This initiative, introduced by Price and the creative team comprising director Whitney White and playwright Bess Wohl, was primarily aimed at safeguarding actors during a vulnerable nude scene. What began as a precaution against unauthorized photography has evolved into a celebrated practice on Broadway.
When inquired about the possibility of maintaining this policy in London, Price responded, “That’s our intention. While we haven’t finalized the logistics or details, we do plan to continue it.”
The move has received support from many in the UK, particularly following a recent incident involving actress Rosamund Pike at the National Theatre. During a critical moment in the production “Inter Alia,” Pike confronted an audience member using their phone, expressing her discontent: “You know who you are, and I’m not going to call you out. Perhaps your phone use was essential, and I hope it was, but we notice these distractions, and they impact our performance.”
Currently, UK theatre audiences are advised to silence their phones and show respect to performers. While there are multiple reminders to turn off devices before the show, interruptions due to ringing or buzzing phones remain common.
In light of Pike’s remarks, Ian Rickson, a former artistic director of the Royal Court Theatre, advocated for a complete ban on mobile phones, arguing that audiences should be encouraged to disconnect for the greater good of the theatrical experience. “If we truly took ownership of this unique collective event and declared it a phone-free space, I believe many would embrace that,” he stated.
Price noted that the phone pouch policy for “Liberation” has contributed to creating a “communal experience,” emphasizing its straightforward implementation. Upon arrival, attendees would scan their tickets and place their phones into Yondr pouches, which were sealed with a magnetic strip. Only Yondr staff could open these pouches during intermission or after the show.
Price observed that there were few objections to the pouch requirement. “There were occasional inquiries about the rule, but we explained it was a theatre policy for this specific production, assuring them that they could access their phones in case of emergencies,” she added.
This approach is likely to be welcomed by actors as well. Lesley Manville, who is currently performing in “Les Liaisons Dangereuses” at the National Theatre, remarked in April that being filmed during curtain calls is “insulting.” She expressed, “We are here to tell you a story; engage with us, but don’t thrust your phone in our faces.”
Despite actors’ concerns, London theatres appear hesitant to impose an outright ban on phones. Many directors and producers prefer to avoid the topic, fearing perceptions of elitism or disconnect from newer audiences who may not be familiar with traditional theatre etiquette and expect to use their phones at some point, especially for photographing actors during curtain calls.
Price acknowledged that in some productions, phone usage is indeed encouraged. She mentioned her involvement in “Titanique,” a Celine Dion jukebox musical, where audiences are invited to film the encore. “That offers a completely different experience where we actively invite the audience to use their phones,” she explained. “Context is crucial.”
Though Manville voiced her opposition, many believe that restricting photography from audiences who have paid significant sums to see performances crosses a line for numerous theatre-goers.
A theatre insider commented, “For most, there’s a middle ground: phones should be away during the show, but we can provide opportunities during curtain calls. Social media and word-of-mouth are essential to our ecosystem; they help us share, appreciate, and promote our work.”
