Tempest in the stalls as baby disrupts Kenneth Branagh RSC performance | Theatre
Audience members at a Royal Shakespeare Company (RSC) matinee performance of The Tempest requested refunds after a baby’s persistent gurgling and cooing disrupted the production. The mother and child were asked to leave at intermission following complaints from patrons at the Stratford-upon-Avon theatre, where tickets for the Kenneth Branagh-led show cost up to £112.
What occurred during the performance?
The disturbance began during the opening scene of the play, according to ticketholder Sian Morgan. While the child did not scream or cry, Morgan told the Daily Mail that the baby “mithered” and made loud chirping sounds throughout the entire first act. The disruption prompted visible frustration among the audience, with reports of audible tutting and lines forming at ticket desks to lodge complaints.
Former home secretary David Blunkett, who was in attendance, noted the situation while relying on his hearing to follow the performance. He remarked to a companion that while he is generally tolerant, the baby was likely not deriving any benefit from the production. Another group of audience members, who traveled six hours and spent £400 on tickets, described the experience as “completely ruined” by the noise.
Did You Know?
The production of The Tempest serves as Kenneth Branagh’s return to the Royal Shakespeare Company for the first time in 30 years, with tickets selling out within hours of their release last year.
Why does this incident matter?
The event highlights a growing tension regarding theatre etiquette and the balance between accessibility and artistic immersion. The RSC’s official guidance allows “babes-in-arms” at performances but stipulates that adults may be required to watch from a cafe monitor if a child causes a disturbance. This incident underscores the potential for conflict when these policies intersect with high-cost, high-demand productions where patrons expect an uninterrupted experience.
Expert Insight:
This situation reflects a broader cultural debate regarding expectations of silence in live performance venues. The comparison to recent incidents, such as Rosamund Pike’s public call-out of an audience member for texting during Inter Alia, suggests that performers and audiences are increasingly vocal about protecting the concentration required for live theatre.
What might happen next?
It is possible that the RSC may re-evaluate how it communicates its “chilled performance” options to parents. While the theatre already offers these sessions—which accommodate noise and movement—the current incident suggests that some patrons may still be opting for standard performances with infants. Future productions could see stricter enforcement of the policy requiring parents to relocate to the lobby monitor at the first sign of sustained noise to prevent further refund requests.
Frequently Asked Questions
Was the baby crying during the show?
No. According to Sian Morgan, there was no actual screaming or crying, but the baby was gurgling, cooing, and chirping loudly throughout the first act.
What was the mother asked to do?
The mother and baby were asked not to return for the second half of the performance and were offered the chance to watch the remainder of the show via TV monitors in the theatre’s cafe.
Does the RSC allow babies in the theatre?
Yes. The RSC’s guidance confirms that babes-in-arms are admitted to all performances, provided they do not disturb others; if they do, the adult may be asked to move to a screen outside the auditorium.
How do you believe theatres should balance the needs of families with the expectations of audiences seeking an undisturbed performance?