I am the first to admit that I have rarely, if ever, been bowled over by anything in the realm of virtual reality, augmented reality, or the like. The technology itself can be interesting enough, and there have certainly been works that piqued my interest—Traveling While Black being one I found brilliant—but I generally do not leap with much enthusiasm when I hear about a new AR or VR experience.

However, when I learned that the brilliant Ian McKellen would star in a small ensemble alongside Golda Rosheuvel (Bridgerton), Arinzé Kene and Rosie Sheehy for the mixed-reality piece An Ark at New York City’s The Shed, I was intrigued. McKellen is a classically trained actor whose roles on stage and screen are legendary and luminous, and I was genuinely curious how his considerable talent, which I have always admired, might translate into a format—nay, a technology—that I’ve often found neat but emotionally unmoving. I’m glad to say I was pleasantly surprised by this play by Simon Stephens (Vanya, The Curious Incident of the Dog in the Night-Time).

In An Ark, an ensemble of four actors guides us through the cycle of life—with all its joys and sorrows—from birth through death, in an intimate 47-minute journey. The piece unfolds largely through monologues, with subtle interactions among performers who appear seated before you, viewed through headsets. The space itself is part of the experience: a theater-in-the-round of simple chairs set atop a vast red carpet, anchored by a glowing white orb at its center. You remove your shoes before entering, a small gesture that immediately signals intimacy.

The show is “mixed reality,” meaning the holographic performances appear directly in front of you—none of the actors are physically present—yet you can still see the audience around you and the room itself. In this way, the technology feels less alienating than traditional VR or AR.

The result is intimate, engaging, and at times deeply emotional. My guest was moved to tears more than once and needed a moment before exiting—a testament to both the writing and the performances. I found this embrace of new technology in theater not just promising but exciting. The idea that remarkable performances might be captured and endure is thrilling, suggesting how the arts can adapt and flourish amid sweeping technological change.

And once again, McKellen mesmerized me, as did the entire show, which left us reflecting on the highs and lows, the fragility and swiftness with which a life passes—and which, despite being presented with emerging and evolving technology, reminded us of the enduring power of nature and its importance in the human condition.

For a show presented in mixed-reality, I found it very real.