Live theatre has long presented challenges when it comes to accessibility, particularly for audiences with hearing loss. A new generation of assistive listening technology, based on Auracast broadcast audio, is beginning to change how sound is delivered and experienced in these environments.
Traditional assistive listening systems have often struggled to keep pace with evolving expectations. Complex acoustics, aging infrastructure, and limited device availability have contributed to inconsistent experiences for both audiences and venues.
AURI™, a Bluetooth® Auracast™ broadcast audio–based assistive listening system currently available in the UK, is now being adopted by a growing number of theatres. Early implementations suggest a shift toward more personalized and flexible listening experiences.
Reframing limitations as opportunities
At the Everyman Theatre in Cheltenham, accessibility efforts are shaped through collaboration with local organizations and direct audience feedback. Francesca Goddard, Individual Giving and Corporate Partnership Manager and one of the theatre’s audio describers, said the team takes a learning-based approach.
“We’re learning as we go. The most important thing has been having conversations – with our audiences, and with organisations like Gloucestershire Deaf Association.”
–Francesca Goddard
Those conversations highlighted limitations in the theatre’s existing infrared assistive listening system. Some components were nearly 20 years old, equipment reliability was inconsistent, and signal coverage varied throughout the venue.
“We were turning people away because we didn’t have enough working headsets,” Francesca explains. “And people expect more now. They expect clarity, reliability, and the ability to use modern devices.”
These challenges were particularly impactful during audio-described performances, where technical issues could undermine extensive preparation.
How Auracast works
Auracast operates differently from traditional assistive listening systems. Instead of amplifying sound within a space, it broadcasts audio directly over Bluetooth to compatible hearing instruments, smartphones, or dedicated receivers.
At Contact in Manchester, Production Manager Adam Steed described the shift in approach.
“We’re no longer amplifying a room. We’re delivering a direct signal.”
This allows venues to deliver audio directly from the sound desk to listeners. For the first time, assistive listening can be treated as a separate, optimized audio mix rather than relying on room acoustics.
Audience feedback at both theatres emphasized the importance of speech clarity. For many individuals with hearing loss, understanding dialogue is more important than hearing all elements of the sound design.
“People don’t come to the theatre to hear louder sound,” Adam says. “They come to understand the story.”
With Auracast, sound engineers can prioritize voices while selectively incorporating music and ambient sound. The result is improved clarity delivered with minimal latency, supporting users who rely on lip reading.
Real-world impact for audiences
Early feedback from audiences suggests meaningful improvements in accessibility and user experience.
Francesca described one audience member who travelled to Cheltenham to try the system after many years of hearing loss.
“He had tears in his eyes,” she says. “He couldn’t believe the clarity, or that he could enjoy live theatre again.”
At Contact, feedback from BSL interpreters also highlighted improvements. Initial testing identified issues related to device settings, but once adjusted to direct-feed-only mode, performance improved significantly.
“An interpreter told us it made her job easier and improved the precision of her interpretation,” Adam says. “That was a really important moment for us.”
Auracast has also addressed longstanding logistical challenges. Audiences are no longer restricted to specific seating areas and can choose whether to use assistive listening on the day of the performance.
“That freedom of choice is huge. Accessibility shouldn’t dictate where someone sits or how they enjoy a performance.”
–Francesca Goddard
The system supports a range of users, including those with compatible personal devices as well as those using venue-provided receivers.
In some cases, benefits extend beyond hearing loss. Neurodivergent audiences may use personal headphones to better control their auditory environment.
“It’s not just about hearing loss,” Adam notes. “It’s about giving people control.”
Implementation and future outlook
Implementing Auracast requires coordination beyond installation. At the Everyman Theatre, funding support from the Barnwood Trust and technical guidance from Ampetronic supported deployment of the system.
The venue also hosted an accessibility open day and trained front-of-house staff to assist users, helping to build familiarity and confidence.
At Contact, the system has been adapted for use in non-traditional venues, demonstrating flexibility beyond fixed theatre spaces.
Both organizations view Auracast as a long-term investment. While not all hearing devices currently support the technology, adoption is increasing, and venue-provided receivers help ensure accessibility in the interim.
Theatres are also sharing their experiences with others in the sector, contributing to broader discussions about the future of assistive listening.
“This has removed barriers we’d been struggling with for years,” Francesca says. “And it’s shown us what’s possible.”
As adoption continues, early implementations suggest Auracast may play a role in reshaping how accessibility is delivered in live performance environments.
**Readers may be interested in the audience reaction to the recent Auracast installation at Marriott Theatre
Source: BIHIMA
**The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. The Auracast™ word mark and logos are trademarks owned by Bluetooth SIG, Inc
