Are Traditional Theatre Programmes Dead? Do People Still Want Print Materials in 2025?
Right, let's get this out the way first, no, traditional theatre programmes aren't completely dead. But they're definitely having a bit of a moment. And by "moment," I mean the kind where you're staring at your phone wondering if anyone actually reads the thing you've just spent ages designing.
I've been watching this shift happen for years now, and honestly? It's been fascinating. One minute everyone's clutching their glossy programmes like sacred texts, the next they're scanning QR codes faster than you can say "digital transformation." So what's actually going on here?
The Great Digital Takeover (Or Is It?)
Here's the thing, 2025 really does seem to be the year when digital programmes are properly overtaking print ones. Not just nudging ahead, but actually leaving them in the dust. And I get it, I really do. When you can tap your phone and instantly access cast bios, behind-the-scenes content, and even order your interval drinks, why would you want to fumble with a paper booklet?
But let's be honest about what's driving this change. It's not just because digital is shiny and new (though it is quite shiny). There are some proper practical reasons that arts organizations can't ignore:
Money, money, money. Print costs are absolutely bonkers right now. Paper prices, printing fees, distribution, it all adds up faster than your Netflix subscriptions
Younger audiences expect it. Gen Z and younger millennials aren't just comfortable with digital, they're confused when it's not an option
Sustainability matters. Environmental consciousness isn't just a nice-to-have anymore; it's become central to how theatres operate
What Audiences Actually Want (Spoiler: It's Complicated)
Now, before we all start mourning the death of the humble programme, let me share what I've observed from working with arts organizations. The picture isn't as black and white as "digital good, print bad."
Some audiences absolutely love the convenience of digital programmes. Click a link to learn more about the composer? Brilliant. Real-time updates if there's a cast change? Even better. Interactive elements that enhance the experience? Chef's kiss.
But, and this is a big but, there's still something to be said for the tangible experience. The ritual of flipping through pages during the interval. The satisfaction of having something to take home as a memento. The fact that you don't need to worry about your phone dying halfway through Act Two.
I've worked on projects where we've seen both sides of this coin. Some venues report that digital programmes get way more engagement than print ever did. Others find that their regular patrons still ask for print options. It's almost like... different audiences want different things. Revolutionary, I know.
The Economics Are Brutal (But Not Insurmountable)
Let's talk brass tacks for a minute. If you're running a theatre on a shoestring budget, which, let's face it, most are, the economics of print programmes can be genuinely painful. Especially during busy periods when you might be printing thousands of copies that half the audience will leave on their seats anyway.
Digital programmes eliminate most of these costs. No printing, no paper, no distribution logistics. You create it once, and everyone can access it instantly. For smaller venues especially, this can free up budget for more important things. Like, you know, actually staging the shows.
But here's where it gets interesting, the upfront costs of going digital can be significant too. You need the right platform, someone to manage the content, possibly new hardware for patrons who need help accessing it. It's not just a case of uploading a PDF and calling it a day.
The Hybrid Approach (Or: Having Your Cake and Eating It)
This is where things get properly interesting. The smartest organizations I've worked with aren't going fully digital or stubbornly sticking with print. They're doing both, strategically.
Think about it, what if you offered a digital programme as standard, but also had a limited number of printed versions available for those who want them? Or what if you created beautiful, special edition programmes for premium ticket holders while everyone else gets the digital version?
Some venues are getting creative with print materials in other ways too, postcards, posters, or collector's items that serve a different purpose than traditional programmes. The key is thinking about what each format does best, rather than trying to make one replace the other entirely.
What This Means for Design
From a design perspective, this shift is both exciting and terrifying. Digital programmes give us so much more freedom, video content, interactive elements, dynamic layouts that adapt to different devices. But they also require completely different thinking.
You can't just take a print design and shove it on a screen. Digital programmes need to be designed for how people actually use their phones. Quick scanning, easy navigation, accessible on everything from a massive tablet to a tiny phone screen in a dark theatre.
At the same time, when we do create print programmes now, they need to feel special. They need to justify their existence in a way they didn't before. More considered paper choices, better finishes, layouts that make the most of the physical format.
The Accessibility Factor
One thing that often gets overlooked in this digital-versus-print debate is accessibility. Digital programmes can be amazing for accessibility, adjustable text sizes, screen readers, multiple language options. But they can also create barriers for people who aren't comfortable with technology or don't have suitable devices.
Good organizations are thinking about this carefully. Offering multiple formats isn't just about preference, it's about making sure everyone can engage with the content in a way that works for them.
So, What's the Verdict?
Traditional theatre programmes aren't dead, but they're definitely evolving. The organizations that will thrive are the ones that think strategically about what each format offers, rather than just following trends.
If you're working with a tight budget and a tech-savvy audience, digital might be your best bet. If you've got older patrons who value tradition and the tactile experience, print might still have a place. Most likely, you'll want some combination of both.
The key is being intentional about your choices. Don't go digital just because everyone else is doing it. Don't stick with print just because "that's how we've always done it." Think about your specific audience, your budget, your brand, and what you're actually trying to achieve.
And remember, whether it's digital or print, the fundamental goal is the same: helping your audience connect more deeply with the performance and the artists. The format is just the delivery mechanism.
The best programmes, whether they're on paper or on screen, tell stories. They create anticipation, provide context, and give people something to discuss during the interval. Technology might change how we deliver that experience, but the core purpose remains the same.
So no, traditional theatre programmes aren't dead. They're just growing up, adapting to new realities, and finding new ways to serve their audience. And honestly? That's probably a good thing.