Virtual Play Readings require imagination and concentration on the part of the Audience. It is much more challenging to focus on a video presentation consisting of Actors’ heads and shoulders in little square boxes than it is to become absorbed by a fully produced film or television program. Enhancement, as discussed below, might be considered a solution to this challenge. That said, the proposed model privileges simplicity. When effectively executed by talented Theatre Artists, a straight-forward Virtual Play Readings can command audiences’ attention.
The experience of the audience, from the first announcement of the Reading until the recorded video has been broadcast, must be carefully considered.
Registration should be clear and easy.
Ticketing services such as Eventbrite and Fonteva can be useful to manage bookings.
Audiences should not need an account to sign in and should be notified as to when they will receive a link to the Reading.
Links to Readings should be secure to prevent “Zoombombing,” a practice where random strangers intrude and disrupt.
All participants should use the most recent versions of the various software and platforms to minimize any potential security issues in older versions.
Whether the Reading is free or not, and whether the Theatre is accepting donations should be clearly indicated in the announcement, after Audiences register, and again when they click on the Reading link.
When accessing the Reading, a “waiting screen” should let the audience know that they have arrived at the correct location. This screen should include the Theatre’s name, the name of the Play, the Playwright, Director and Actors’ names, and a countdown timer so audiences know exactly when the Reading will begin.
Everyone involved in the Reading should be provided with publicity materials to increase engagement.
Talkbacks are not essential. A Producer may prefer or even stipulate a post-show discussion, but Playwrights are not required to participate. When Playwrights agree to be involved, Talkbacks should be handled in a way that honors their preferences. Various options exist which can be useful for New Play Development.
Having seen a final cut of the Reading before it’s posted, a discussion between the Playwright and Director could be recorded before the Reading premieres. Actors can also participate in a Recorded Talkback, with the Producer or Literary Manager serving as moderator.
Even with Recorded Readings, the Talkback can be live, allowing audiences to participate, as they often do with In-person Play Readings. If Playwrights permit, audiences can post comments or questions during the Reading or the Talkback itself. Whoever will act as moderator should select the audience’s comments and questions. Inappropriate comments can be deleted as soon as they appear. The comment thread can be archived for later review. If Playwrights prefer not to receive audiences’ input, the “comment” function can be disabled throughout.
To get the most engagement for either a recorded or live Talkback, it’s best to continue directly on the same platform at the end of the Reading, or after a short break. A quick check of the participants’ sound and lights is advised. Changing platforms is possible, and while less risky, it will likely result in less engagement. Checking technical considerations for the Talkback before the Reading begins is possible, but participants would need to maintain the connection throughout the Reading.
The model for public Play Readings in the book, Play Readings: A Complete Guide for Theatre Practitioners, favors simplicity over enhancement, as does the model for Virtual Play Readings here. As blends of theatre, film and television, online theatre requires Directors and Actors to consider the best practices of all these mediums.
Both In-person Play Readings and Virtual Play Readings as tools of New Play Development often serve the Playwright best when they do not attempt to be more than they are. Public Play Readings are not necessarily improved by inching them toward full productions, and Virtual Play Readings often do not benefit from inching them towards film. Playwrights are still finessing their Play when it is presented as a Virtual Play Reading, and enhancements, while they may provide opportunities for Directors, audiences and even the writers themselves, might make the work itself more difficult to assess. Many may disagree, and valid arguments can be made in favor of enhancement, some of which are discussed in this guide. The proposed model is not meant to be a stipulation - merely a suggestion which favors subjective
aesthetic preferences of Virtual Play Readings in the service of New Play Development.
With any Virtual Play Reading, the principal goal is for the Playwright and the audience to SEE and HEAR the Actors clearly, without distraction. All technical considerations should support QUALITY and CONSISTENCY.
