Sir Ian McKellen is set to star in the UK premiere of a pioneering mixed reality play titled *AN ARK*, which will be staged at Manchester’s Aviva Studios from March 27 to April 10, 2027. The production, originally debuted in New York earlier this year, combines live theatre elements with advanced technology, presenting actors virtually through smart glasses worn by audience members.
*AN ARK* is described as a 47-minute exploration of life and death, where actors share intimate stories about human growth, connection, and grief. The audience experiences the play by wearing mixed reality glasses, which overlay virtual performances onto the real environment rather than fully immersing viewers in a separate digital space, differentiating it from virtual reality. The technology projects the actors into the viewer’s space in a way that makes it seem as if they are sitting just in front of them and speaking directly to them.
McKellen, 87, along with three co-stars—Golda Rosheuvel, known for her role as Queen Charlotte in Netflix’s *Bridgerton*; Olivier Award nominee Arinzé Kene; and two-time Olivier nominee Rosie Sheehy—were filmed simultaneously by 52 cameras in a single take at a studio in Grenoble, France. While their physical presence will not be onstage during the performances, their virtual counterparts will deliver the performance, creating what producers call an “intimate reimagining of live theatre.”
John McGrath, chief executive of Factory International and the Manchester International Festival, which is producing *AN ARK*, emphasized that this mixed reality format is not intended to replace traditional live theatre but to offer a new artistic tool. He highlighted the unique intimacy the technology brings, allowing audience members to feel a direct connection with the actors. McGrath acknowledged concerns that such technology might threaten live performance or actors’ livelihoods but rejected them, comparing the innovation to early uses of video in theatre, which were initially controversial but eventually accepted as an augmenting tool rather than a replacement.
McGrath also addressed financial pressures faced by theatres, including rising operational costs and audience reluctance to pay higher ticket prices amid the cost-of-living crisis. However, the use of mixed reality is presented as an artistic advancement rather than a cost-cutting measure, with tickets priced at £35 for performances that may be shown up to seven times daily to audiences of around 100.
The play is directed by Sarah Frankcom and features collaboration with mixed reality pioneer Todd Eckert. Frankcom noted the powerful audience reactions during the New York run, remarking on the emotional engagement despite the absence of traditional live presence. McKellen expressed enthusiasm for the project, calling it an exciting new form of acting that allows a closeness to characters rarely possible in conventional theatre settings.
Factory International’s 2027 programming will also highlight the 20th anniversary of the organization with several premieres, including a large-scale new production of Philip Glass’s opera *Einstein on the Beach*, marking the composer’s 90th birthday and the first full new staging of the work in 50 years. This indicates a continuing commitment to innovative and large-scale cultural productions alongside experimental formats like mixed reality theatre.
While mixed reality theatre remains a nascent form, with technical challenges such as capturing actors’ movements and audience requirements for contact lenses when wearing prescription glasses, it represents a growing field of experimentation. Public events planned by Factory International aim to explore the future potential and ethical considerations surrounding this technology.