McKellen Leads First Mixed Reality Play at The Shed
Ian McKellen is set to front a landmark theatre production that blends live-stage tradition with advanced mixed reality technology, signalling a new direction for how audiences may experience performance in the years ahead. The Shed will host the world premiere of An Ark, described as the first play created specifically for mixed reality, with previews and performances beginning on 9 January 2026. The limited engagement is scheduled to run for seven weeks, positioning the project as both a creative event and a practical test of an emerging entertainment format.
The production features an ensemble cast that includes McKellen, Golda Rosheuvel, Arinzé Kene, and Rosie Sheehy. The story is designed as a tightly structured experience that compresses the arc of a human life into 47 minutes, aiming to deliver a focused meditation on themes such as love, grief, joy, and connection. The short running time also reflects the reality of mixed reality performance design, where intense immersion often requires careful pacing to maintain emotional clarity and audience comfort.
McKellen’s decision to participate is being viewed as a notable endorsement of the form. His presence adds weight to a project that relies on unfamiliar methods, and it may encourage wider attention from both traditional theatre audiences and technology-driven entertainment communities. The extended run also provides the organisers with time to monitor reception, identify technical issues, and refine delivery based on audience behaviour and feedback.
Mixed reality theatre differs from standard stage productions in both its methods and its outcomes. Rather than relying on actors physically appearing on stage at each performance, An Ark uses a format in which the performers appear through headsets worn by the audience. Up to 200 ticket holders will attend each show in The Shed’s Level 2 Gallery, seated together but experiencing the performance through mixed reality devices that create a strong sense of proximity. The intent is to make it feel as though the actors are present in the room, engaging directly with each viewer, even though the performance itself is pre-recorded.
This approach attempts to address a long-standing tension in theatre: intimacy is easier in small venues, while scale usually reduces personal connection. In An Ark, the actors are not physically present in the venue during the performances, yet the technology is designed to replicate closeness at a mass audience level. The production uses a method referred to as “dimensional recording”, which aims to capture more than image and sound by preserving spatial presence and physical nuance. Supporters of the format argue that it may create a more direct emotional relationship between performer and audience member than is possible in large conventional theatres, where performers must project outward to reach distant seats.
The show’s creative team combines traditional theatre credentials with expertise in mixed reality. The script is written by Simon Stephens, an Olivier and Tony Award winner, and directed by Sarah Frankcom, a UK Theatre Award winner. Production is led by Todd Eckert, who has been involved in earlier mixed reality experiments and is regarded as a key figure in the field. The combination suggests an attempt to treat mixed reality as a serious artistic platform rather than a novelty, with experienced theatre-makers shaping the narrative, rhythm, and emotional impact in a technology-led space.
Frankcom has been associated with stage work rooted in live performance, and her involvement reflects a broader shift now underway across the arts, in which established directors and writers are increasingly exploring immersive formats. The themes of An Ark match the medium’s strengths, especially its ability to simulate closeness and private emotional exchange. In a traditional theatre setting, personal stories can lose detail when played at scale. Here, the production format is designed to bring the performance into near-face-to-face range, turning the emotional tone quieter, more internal, and more immediate.
The premiere also follows earlier mixed reality work presented at The Shed. The venue previously collaborated with Tin Drum on Kagami in 2023, billed as the first concert staged in mixed reality. That event helped establish technical confidence and audience curiosity, providing a stepping stone towards a more complex dramatic production. Moving from concert format to scripted theatre suggests the creators view mixed reality as capable of delivering narrative depth, not just spectacle.
Industry observers are watching An Ark closely because its outcome may influence future programming decisions, both at The Shed and elsewhere. The model introduces questions about access, cost, and distribution. If mixed reality productions can deliver a convincing sense of presence without requiring actors on stage each night, it could reshape touring, performance schedules, and the economics of high-profile casting. It also raises the possibility of scaling performances beyond geographic limits, where the same recorded presence could appear to audiences in multiple cities without losing intimacy.
Ticket sales begin on 20 November 2025, with member presales opening on 12 November. The commercial rollout indicates confidence that the production can attract audiences beyond early adopters of immersive technology. For theatres facing rising costs and changing attendance habits, mixed reality could become a tool for experimentation with new revenue models and new audience segments.
For mixed reality itself, An Ark represents a crucial test. The production aims to prove that immersive technology can support meaningful drama, sustain attention, and deliver emotional authenticity in a shared public setting. If the show succeeds, it may mark a turning point where theatre begins to adopt presence-based digital performance without losing the communal feeling that defines the art form. If it struggles, the results may still provide valuable insight into how far the technology must evolve before it can consistently match the power of live stage work.
