Programs are a quintessential part of the theater-going experience. As patrons are ushered in to see a Broadway show, they are greeted and offered a playbill at the door. This small program serves many purposes, allowing spectators to read the bios of the actors, a letter from the director, an outline and description of the show, as well as ads for upcoming productions. Many theatre-goers hold on to their playbills to reference after the show, and some even have collections acquired over many years. Playbills are the first interaction an audience has with a production, and they are an important part of a show’s history.

But Off Broadway and Off Off Broadway shows are beginning to ditch the physical playbill in favor of a digital version.

In the latest edition of The New York Times, theatre critic, Laura Collins-Hughes, writes about the recent rise of digital playbills in her article, “I Want My Playbill! Why Programs Are No Mere Extra.” According to Collins-Hughes, while this move to online programs is a money saver, it has its implications for audiences and performers alike.

This not only takes away convenience for the audience, it also adds a level of frustration. By choosing not to print out paper playbills, it means that only the few very dedicated and exceptionally curious members of the audience will take the time to access and read through the online program.

According to Collins-Hughes, “When a theater bypasses paper playbills, it is outsourcing a job to its audience members – saying that if they want to know more, that’s on them. Why do that to people who’ve already proven their curiosity by their presence?”

This is equally frustrating for the actors, directors, musicians, and other creatives involved in the production because it radically diminishes the chances that they will receive the recognition that they deserve.

Collins-Hughes suggests that theaters not offer digital playbills instead of paper playbills, but rather offer the choice of either one. That way the eco-friendly theatergoer can enjoy their e-playbill and the old school theatergoer can still conveniently peruse their paper copy.

For more on this, check out, Laura Collins-Hughes’ “I Want My Playbill! Why Programs Are No Mere Extra,” The New York Times, (Jan 29, 2019): C2.