Inaugurated by Queen Elizabeth II in 2004, the Canolfan Mileniwm Cymru (or Wales Millennium Centre) is one of the UK’s most dynamic venues, with creative multi-programming ranging from cabaret to musicals, from performances to immersive experiences. We talk to David Massey, Senior Producer, Immersive Experiences and XR Curator at Canolfan Mileniwm Cymru / Wales Millennium Centre.
Wales Millennium Centre goes immersive
David Massey – I’ve been working in the immersive field for nearly 10 years. In the past, I worked with Welsh National Opera and the BBC as a digital producer. One of my main aims was to understand ways in which we might attract new audiences. I joinedWales Millennium Centre with the same objective, and the possibility of having a space truly dedicated to all these new experiences, and WMC is perfect for this; it’s both a place where we can present traditional performing arts (theatre, musicals, cabaret, music festivals), offer young people workshops and host immersive events in general, with rooms adapted for art and digital.
D. M. – Looking back,we’ve achieved so much within a short timeframe. Our original objective of creating a successful dedicated immersive space for Wales has been reached and the process of exploring how we can run innovative and inclusive immersive experiences in a public space has enabled us to learn a lot. Our real added value today is the fact that we are trained and expert in programming such XR works, from welcoming the public to operation and technical installation. I’m talking about fifteen employees a year, trained and competent in these matters – right down to understanding XR grammar and the stories we exhibit.
D. M. – XR brings in a new, diverse audience (31% of immersive viewers had never visited our building before), and there’s more of a gender balance in particular compared to our main theatre space, the Donald Gordon Theatre, which is great. . Based on the data we have, we’re working to further diversify our audience. We hope to offer a type of venue that could exist elsewhere, with other opportunities to present identical content in the UK. There’s a real dynamic in the country, and in Wales in particular, with the setting up of a specialised fund for the XR ecosystem (Immersive Arts, mentioned in our last interview with Mark Atkin). We hope to gain a better understanding of the impact of all these innovations on artistic practices, and better envisage our work with artists before exhibiting them. There are great opportunities at the moment for the UK ecosystem.
D. M. – It’s obvious that the immersive industry’s current question is distribution, and access to the general public. Even though we’re doing the work at the Wales Millennium Centre, many immersive artists don’t always have the chance to be helped with the distribution of their work. We’re still working on creations that are expensive to develop, produce and take on the road. There are, however, some fine examples of VR exploitation in Paris and Montreal on the large-format exhibition side.
What is Bocs?
D. M. – The Wales Millennium Centre has been in existence for 20 years, but it’s still relatively young in its category! What is recent is Bocs, our immersive room since 2022. We wanted to offer a real venue adapted to innovative experiences, in an approach that can sometimes go as far as accompanying the production of certain content. The Wales Millennium Centre itself is a multi-cultural venue that hosts and/or co-produces shows, theater etc., which we then circulate around the country. We’re trying to duplicate this for digital experiences.
D. M. – Bocs is a custom made, large scale black box built as a venue for immersive experiences. It’s a room of over 57 square meters with 8 places for VR, access is free for the most part but with some paid for experiences. We also show projections, sometimes with interactions (motion tracking…) or AR experiences. It’s a very flexible space in that sense. We needed this kind of modularity within the Center. The intention is to expand Bocs to be able to accommodate larger exhibitions, and real added value to attract the public. XR is fascinating when it’s collective.
D. M. – We are discussing future exhibitions where access to Bocs could be paid for. These are installations with specific logistics. For the rest, we exhibit immersive experiences on the principle of a lump sum for producers and creators. With positive feedback. On these points, we’re still learning: operating costs can vary, as can building charges, for example. One possibility is we suggest that visitors donate what they want.
D. M. – Public feedback on Bocs (around 30,000 visitors to date) and the immersive proposals has been very positive. It’s very satisfying for us, proving the strength of these proposals and stories. The reception of IN PURSUIT OF REPETITIVE BEATS was particularly strong, as it’s a love letter to rave culture, euphoric and beautifully crafted experience, which brought back a lot of incredible memories for attendees . And I think we’re seeing a big change on the part of the public, who are getting more and more used to these immersive, rental-based experiences. Collective sharing, and a sense of togetherness in a physical place, is irreplaceable.
Initiating an operating model for immersive?
D. M. – The XR ecosystem is still young particularly in Wales, and we have great relationships with the XR creators we work with and are keen for us to share learnings and feedback. When we program a work, it’s usually simple to discuss terms and costs, however there is no rate card for licencing work internationally and this would be helpful especially when working as co producer to support touring works. Our work with creative studios and authors often involves the fact that, outside the venue, everything has to be re-imagined. Each project is unique. For BATTLESCAR, in example, we were able to set up a real scenography that went beyond Astrea’s installation for festivals.
D. M. – Watershed in Bristol will be a new venue with whom we’re discussing these questions of business model, funding, ticketing etc We’re very open to these discussions, and getting everyone unified and moving in the right direction. The stakes for venues are high, and there can be risks to exhibit these works but there’s a lot to be said for working on programs that can travel, organising tours, sharing costs and schedules that can benefit everyone. It’s also a way of combating budget cuts in a difficult economic climate, but also of consolidating our networks to better help creators.
D. M. – As far as programming is concerned, it seems obvious that we’re trying to work at the Wales Millennium Centre through all of our activities. And to be able to include innovative, experiential along with populist experiences in the Centre’s overall programming (for example like The Invisible Ocean this summer, or Coloured as part of Black History Month for example). Above all, I try to identify stories that resonate and sometimes challenge our audience. So far we’ve hosted a lot of XR work, but we’re trying to open up to all interactive formats – including motion tracking projections. We need to understand how we might offer a variety of new voices and formats.
D. M. – Exhibiting large scale productions (XR works at scale so over 25 people at any one time)) is also something that we’re keen to explore.. But it requires a great deal of thought, resource, care and logistical preparation. I think collective experiences like that would be a huge pull for the public. We’re discussing the possibility of hosting these high-level exhibitions, which require more space and resources. It’s still in the discussion stage, and will have to fit in with our usual programming.
D. M. – Finally, we’re working on two R&D projects, but I can’t talk about them right now…
Programming XR at the Wales Millennium Centre
David Massey -Wales Millennium Centre’s program until September is online, and you can discover first a line-up in partnership with StoryFutures in April, and then the UK premiere of EMPEREUR. But these are just a few dates in a busy year. We’ll be presenting 3 XR works at Hijinx’s Unity Festival by disabled artists and non disabled creators working in immersive technology, changing the perceptions of disability: Sue Austin’s immersive film, which was presented in 2012 for the London Olympics, TURBULENCE: Jamais Vu by Ben Joseph Andrews, in which the author uses virtual reality to talk about Ben’s experience of vestibular migraine, and NOTES ON BLINDNESS: INTO DARKNESS. This summer we’ll be presenting three Vision3 works: DROP IN THE OCEAN, CRITICAL DISTANCE and MY AFRICA.
Wales Millennium Centre – 2024 Season
- Invisible Ocean (July 27 – September 8)
- Unity Expanded (June 1 – July 7)
- EMPEROR (May 1-15)
- StoryFutures: XPERIENCE (April 01-21)
Archives
- BATTLESCAR: PUNK WAS INVENTED BY GIRLS
- GONDWANA
- MONOLITHS
- LGBTQ + VR MUSEUM
- ODDS ON
- A SIGNAL ACROSS SPACE
- FLIGHT
- IN PURSUIT OF REPETITIVE BEATS
- NO PLACE LIKE (FLAT) HOLM
- GOLIATH: PLAYING WITH REALITY
- RIPPLES OF KINDNESS
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